35520 10 Members Join New Movie Board: Film Review Group Doubled in Size as Representation Covers Added Fields New York Times
Sept. 18, 1957
37 After the revision of the motion picture industry's Production Code in 1956, criticism remained that the appeals process was dominated by executives from the nine member studios of the MPAA and its president Eric Johnston. This article reports that Johnston doubled the size of the Appeals Board by adding exhibitors and producers who were not MPAA members. New members included John Ford, William Goetz, F. Hugh Herbert, and George Sidney. self-regulation sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and Appeals Board Ford, John Goetz, William 10 Members Join New Movie Board: Film Review Group Doubled in Size as Representation Covers Added Fields 40890 $1250 and UP Round the World [advertisement] Life
Oct. 21. 1926
88 2294 33 This ad reads: "110 days of glorious adverture in 22 ports in 14 countries. Interesting lands, strange people, all the color and mysticism of the Orient. Palatial President Liners. Commodious outside rooms. A world-famous cusine. Sailings every Saturday from San Francisco (every fortnight from Boston and New York)." (33) billboards art color, and Orientalism color, and mysticism mysticism, and Oriental mysticism, and color advertisement advertisement, and color color, and advertisement advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards advertising $1250 and UP Round the World [advertisement] 28600 The 1969 Film Daily Year Book of Motion Pictures New York Film and Television Daily
1969
This was the 51st Annual Edition of the Film Daily Year Book of Motion Pictures. The work has much statistical data on the motion picture industry including production and distribution figures, information on foreign theaters, and a list of the Hollywood Press Corps (the work lists 325 people in Hollywood, 125 working internationally, 94 in New York alone, and 583 motion picture newspaper editors). This volume gives a good idea of the scope of the movie industry's public relations and publicity potential. The work summarizes highlights from 1968 including the new ratings system. It defines "voluntarism" on which the rating system was based. The volume also discusses "community rlations activities." Francis O. Beermann writes about television during the previous year. Motion Picture Association of America (MPAA) MPAA advertising, and public relations References, Statistics, Timelines, Maps References, Statistics, Timelines, Maps propaganda public relations propaganda advertising motion pictures motion pictures and popular culture television motion pictures, and public relations public relations, and motion pictures advertising, and motion pictures motion pictures, and advertising Valenti, Jack statistics reference works public relations advertising The 1969 Film Daily Year Book of Motion Pictures 13540 2,000 New Citizens Learn Voter’s Duty New York Times
Oct. 30, 1915
5 This article indicates that speeches, songs, and moving pictures were shown new citizens to instill love of flag, government, and country. The article subtitle read: "Must Be ‘Unhyphenated and Unhesitating Americans,’ Says Mayor Mitchel; …Patriotism and Its Meaning the Only Topic of Speech, Song, and Picture." nationalism motion pictures, and Americanization motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures modernity patriotism, and motion pictures motion pictures, and patriotism motion pictures, and Americanization patriotism 2,000 New Citizens Learn Voter’s Duty 14330 3 Lightless Nights a Week Advocated New York Times
Dec. 11, 1917
9 This article reports that during World War I, the U. S. Fuel Administration ordered that electric signs advertising movies be turned off certain nights of the week. motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity advertising 3 Lightless Nights a Week Advocated 14260 300 Burn to Death in Mexican Theatre New York Times
Feb. 27, 1900
1 A report on a disastrous fire in a Mexican movie theater. children motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire harzard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children media effects children, and media effects media effects, and children motion pictures, and crime values values, and motion pictures motion pictures, and values motion pictures, and Mexico Mexico, and motion pictures electricity, as fire hazard non-USA Mexico Mexico, and movie theaters motion pictures, and Mexico 300 Burn to Death in Mexican Theatre 14200 5-Cent Theatre Burns; Panic on Bowery New York Times
Feb. 4, 1907
2 This article reports that draperies giving theater Oriental atmosphere caught fire. motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards 5-Cent Theatre Burns; Panic on Bowery 16080 $50,000 Film Theft Leads to Arrests New York Times
Nov. 11, 1919
17 The subtitle for this article reads: "Police Say $500,000 Worth of Pictures Have Been Stolen in Last Six Months." capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures motion pictures, and piracy piracy, and motion pictures piracy $50,000 Film Theft Leads to Arrests 27610 7-Elevens Drawn Back to 'Playboy' by Vanna Issue Adweek
April 13, 1987
National Newswire Despite the boycot efforts anti-pornography groups following the Meese Commission Final Report 91986) to get drug and convenience stores to stop selling Playboy and Penthouse, by 1987, 7-Elevens had begun to sell Playboy with nude pictures of game show hostess Vanna White. presidents, and new media Reagan administration values sexuality sexuality obscenity Meese Commission law censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography pornography, judicial setbacks Playboy pornography, and Playboy Playboy, and pornography values Reagan, Ronald 7-Elevens Drawn Back to 'Playboy' by Vanna Issue 36420 7 Foreign Films Set for Release: Lopert, Around-the-World Get Imports -- Wilde Films Hit by Legion of Decency New York Times
July 2, 1960
10 This article discusses seven foreign films scheduled to play in the United States, including Never On Sunday, a Greek picture by the blacklisted director Jules Dassin. Also noted are two films about homosexuality condemned by the Roman Catholic Legion of Decency, Oscar Wilde and The Trials of Oscar Wilde. Both were from Great Britain. The Legion's statement on the latter two films read: "The subject matter of these films, dealing with a social aberration (perversion), is treated in such a way as to glamorize and to arouse undue sympathy on the part of an audience for the tragic weakness rather than for the genius of the character (Oscar Wilde) who is the principal of the story depicted." self-regulation sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality foreign films, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Trials of Oscar Wilde motion pictures, and foreign markets motion pictures, and American-interest film Never On Sunday (1960) Legion of Decency Legion of Decency, and homosexuality foreign films, and homosexuality foreign films 7 Foreign Films Set for Release: Lopert, Around-the-World Get Imports -- Wilde Films Hit by Legion of Decency 30410 8mm Sound Film: ... A Survey of Progress to Date American Cinematographer
April, 1963
44 4 223 This issue has several articles on 8mm film. It notes that the commercial application of this format is expanding and that 8mm has moved from simply something for amateur hobbyists to increasing areas of commercial application. 8mm 8mm, and sound recording sound recording sound recording, and 8mm film cameras, and 8mm 8mm, and projectors 8mm, and cameras cinematography cameras motion pictures 8mm Sound Film: ... A Survey of Progress to Date 30190 8mm Sound-on-Film Camera Records Mock Riot American Cinematographer
March, 1968
49 3 198 This one-page piece notes that the cost-conscious Ingelwood, CA, police department used a "Fairchild 900 8mm single system sound movie camera" to make a training film. corporations corporations Eastman Kodak cinematography sound recording 8mm cameras cameras, 8mm sound recording, and 8mm cameras magnetic recording 8mm, and magnetic sound recording education education, and 8mm film Eastman Kodak, and 8mm film motion pictures 8mm Sound-on-Film Camera Records Mock Riot 14870 The Abuse of Cinematograph The Times [London]
April 4, 1913
7 This article discusses the effects of movie scenes of horror and crime on children. children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Great Britain Great Britain, and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures non-USA Great Britain motion pictures, and horror motion pictures, and crime The Abuse of Cinematograph 29880 Academy Award Winner for Cinematography American Cinematographer
May, 1967
48 5 356-58 This article discusses the Academy Award winners for Cinematography in 1966. Included are the work of Haskell Wexler and Ted Moore. The article discusses how cameras are less obtrusive than earlier. In "Who's Afraid of Virginia Wolff" (1966), hand-held cameras and zoom lens were used. The article also considers Ted Moore's creative use of the camera in "Moll Flanders." He captured "the rich hues of Henry VIII's lusty court and contrasts them effectively with the almost monochromatic austerity of the religiously circumscribed morality that pertained at the time. He records the subtle lushness of rural England, composing each scene like an oil painting by an Old Master. Yet his camera is never static, never reticent to move in pace with action that ranges from spiritual to physical, weaving on film a multi-colored tapstry of light brought to life by the currents of a decisive moment in history." history lenses, zoom transistors sex motion pictures, and sexuality sexuality cinematography motion pictures cameras motion pictures, and cameras cameras, and motion pictures zoom lenses cameras, and zoom lenses cameras, hand-held mobile cameras mobile cameras mobile cameras, transistorized transistors, and cameras cameras, and transistors movie, Who's Afraid of Va.Wolff motion pictures, and academy awards movie, Moll Flanders sexuality motion pictures, and sexuality sex scenes, and cameras cameras, and sex scenes (Moll Flanders) movie, Man for All Seasons Wexler, Haskell cinematography Moore, Ted color color, and motion pictures color, and sexuality sexuality, and color history history, and motion pictures motion pictures, and history history, and color color, and history cameras, new models (1966) lighting lenses Academy Award Winner for Cinematography 29880 Academy Award Winners for Cinematography American Cinematographer
May, 1967
48 5 356-58 This article discusses the Academy Award winners for Cinematography in 1966. Included are the work of Haskell Wexler and Ted Moore. The article discusses how cameras are less obtrusive than earlier. In "Who's Afraid of Virginia Wolff" (1966), hand-held cameras and zoom lens were used. The article also considers Ted Moore's creative use of the camera in "Moll Flanders." He captured "the rich hues of Henry VIII's lusty court and contrasts them effectively with the almost monochromatic austerity of the religiously circumscribed morality that pertained at the time. He records the subtle lushness of rural England, composing each scene like an oil painting by an Old Master. Yet his camera is never static, never reticent to move in pace with action that ranges from spiritual to physical, weaving on film a multi-colored tapstry of light brought to life by the currents of a decisive moment in history." history lenses, zoom transistors sex motion pictures, and sexuality sexuality cinematography motion pictures cameras motion pictures, and cameras cameras, and motion pictures zoom lenses cameras, and zoom lenses cameras, hand-held mobile cameras mobile cameras mobile cameras, transistorized transistors, and cameras cameras, and transistors movie, Who's Afraid of Va.Wolff motion pictures, and academy awards movie, Moll Flanders sexuality motion pictures, and sexuality sex scenes, and cameras cameras, and sex scenes (Moll Flanders) movie, Man for All Seasons Wexler, Haskell cinematography Moore, Ted color color, and motion pictures color, and sexuality sexuality, and color history history, and motion pictures motion pictures, and history history, and color color, and history cameras, new models (1966) lighting lenses Academy Award Winners for Cinematography 42220 'An Achievement in Journalism' New York Times
Nov. 21, 1906
8 This article indicates that newspapers had begun to publish photographs taken at night. For example, in November, 1906, the New York Times used thirty pounds of flashlight powder to take a photograph of crowds outside the Times Building in New York on election night. Reprinted from the Louisville Courier-Journal. journalism photography news and journalism photography, and news photographs photography, and night photographs photography, and journalism journalism, and photography newspapers, and photography photography, and newspapers 'An Achievement in Journalism' 15490 Actors as Speechmakers New York Times
March 23, 1902
15 This article is about actors’ personality and danger of ego and boasting. The article's subtitle reads: "Annie Russell and Kyrie Bellew Give Advice to Young Actors." theater stage history celebrity actors acting actors acting motion pictures theater and stage motion pictures, and stage stage, and motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing actors, and oratory fame celebrity culture theater, and fame theater, and celebrity motion pictures, and stage actors celebrity, and theater fame, and theater status of actors actors, and status of personality motion pictures, and personality personality, and motion pictures theater Actors as Speechmakers 15680 Actress to Cross Atlantic for a Day New York Times
May 1, 1910
C 2 This article reports on actress, Pauline Chase, who will sell autographed photos abroad. “The first among these will be one of Theodore Roosevelt, which Miss Chase went to Paris to obtain from the ex-President.” The article's subtitle reads: "Pauline Chase Will Make Notable Trip from London to Aid Actors’ Fund Fair. Will Sell Photographs. Has Autographed Pictures from Roosevelt and Leaders of the Theatrical Profession Abroad." journalism celebrity photography Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and photography nationalism and communication photography, and nationalism nationalism, and photography news and journalism photography, and journalism journalism, and photography presidents and new media photography and visual communication personality personality, and photography photography, and personality celebrity culture Roosevelt, Theodore, and new media photography, and Theodore Roosevelt Roosevelt, Theodore, and photography motion pictures nationalism Actress to Cross Atlantic for a Day 29690 Advertisers report on value of color in all media Printers' Ink
April 27, 1956
21-23 This study, conducted by Richard Manville Research, found that leading advertisers believed that color ads were much more effective than black-and-white ads. The advertisers thought that color was 84 percent more effective for outdoor advertising, 52 percent more effective for magazines, 50 percent better for Sunday supplements, 47 percent for TV, and 38 percent for newspapers. The advantages included better product identification, more realistic appearance of what was being promoted, and stronger emphasis on the quality of the product. There were concerns, though, with color advertising on television -- poor quality of the color, the high cost involved, and the fact that few people owned color sets in 1956. The advertisers, though, clearly believed that color would be used more and more in the near future. About 90 percent of those who received the questionnaire in this study had seen a TV program in color and about two thirds of them thought that color TV ads were good to excellent. color advertising and public relations television books, periodicals, newspapers color, and television television, and color advertising, and color color, and advertising newspapers, and color ads color, and newspapers magazines, and color ads color, and magazines color, and billboards capitalism capitalism, and color media media effects media effects, and color ads advertising newspapers magazines news news and journalism Advertisers report on value of color in all media 35330 Advise and Consent Otto Preminger Columbia Pictures
1962
By 1961 there were several movies in production in which homosexuality was a major theme, even though the movie industry's Production Code forbade this topic. These films included Otto Preminger’s Advise and Consent (Columbia, 1962), John Huston’s Freud (Universal, 1962), United Artists’ The Best Man (1964), starring Henry Fonda, United Artists’ The Children’s Hour (United Artists), and The Devil's Advocate.
Summary from American Film Institute Catalog: "Washington is thrown into a turmoil when the seriously ill President of the United States asks the Senate to "Advise and Consent" to the appointment of Robert Leffingwell, a highly controversial figure, as the new Secretary of State. The President's chief support comes from Bob Munson, the Senate Majority Leader, while the principal opposition is raised by Seab Cooley, a southern senator who uses the testimony of a mentally unbalanced clerk, Herbert Gelman, to brand Leffingwell an ex-Communist. Although Leffingwell confesses the truth of the accusation to the President, his Communist affiliation is dismissed as a youthful indiscretion, and Leffingwell denies the accusation while testifying under oath before the Senate subcommittee. The committee chairman, Brigham Anderson, learns of the perjury and demands the withdrawal of Leffingwell's nomination. When the President refuses, Anderson decides that for the good of the country he must make the truth public. Before he can do so, however, he is threatened with blackmail by Fred Van Ackerman, an overambitious senator who warns Anderson that if he fails to approve the nomination, his own youthful indiscretion (a wartime homosexual experience in Hawaii) will be exposed. Unable to face the shame of his own past and unable to confess the truth to his wife, Anderson slashes his throat with a razor. Following the arrival of the tragic news, the Senate votes on Leffingwell's nomination. It ends in a deadlock, with the decisive vote going to the Vice President. As he ponders his decision, word arrives that the President has died. The once ineffectual Vice President is suddenly inspired by the monumental responsibility of his new office and announces that he will appoint his own Secretary of State."

Based on the novel "Advise and Consent" by Allen Drury (Garden City, New York, 1959). censorship self-regulation motion pictures, and sexuality sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality Preminger, Otto Production Code, and Otto Preminger Preminger, Otto, and Production Code Advise and Consent 35760 AFL Unit Hints Boycott of Movie: Council Protests Filming of 'John Paul Jones' in Spain New York Times
March 31, 1958
19 This article deals with the movie John Paul Jones (1959), one of the many so-called American-interest or "runaway" films that were produced abroad with some American talent. Hollywood labor groups protested this film and especially the fact that the signing of the Declaration of Independence in the movies actually took place in Spain. , news motion pictures motion pictures, and American-interest films motion pictures, and labor labor motion pictures, and foreign markets motion pictures, and censorship censorship and ratings AFL Unit Hints Boycott of Movie: Council Protests Filming of 'John Paul Jones' in Spain 41100 Against Colored Photoplays New York Times
March 18, 1923
X 3 This piece reprints part of an article by Philip E. Rosen, a photographer and director, that appeared in The American Cinematographer. color motion pictures motion pictures, and color color, and motion pictures critics critics, and color movies color, and critics critics, and color color, and realism color, and emotion Against Colored Photoplays 42710 The Age of Color Popular Mechanics
Oct. 1938
70 489-96, 128A ff? “The world is spending millions for color today and, as a result, is rapidly changing from a dull, drab sphere into a gay and cheerful place garbed in all the hues of the rainbow,” (490) begins this article which is richly illustrated with several color pictures. In the United States alone, approximately $50 million of worth of dyes are used annually.
The dyestuffs helped to sell $6-7 billion of merchandise each year. It is the color, the article says, that sells many of these goods. Because “color exerts a psychological influence on all of use,”(490) decisions to buy or not to buy are often strongly related to color.
There are assumptions here, which seem common in much literature talking about color during the early 20th century, about the effect of various colors. Red is “the symbol of war, hate, danger and courage while orange signifies warmth, harvest and autumn. Green is linked with victory, safety and sickness and we associate yellow with cowardice and deceit.” (490) Blue has “a cooling effect.” (490)
A machine known as the Colorcable uses “a simplified system of code letters” and “can transmit thousands of separate colors over regular telegraph or cable communications,” according to this piece. “In this manner it is possible, for example, to send the most popular shades exhibited in a Paris style show to New York in a few hours, and even a few minutes.” (492)
The expanding use of dyes has made color available to a much wider population whereas earlier it had only been the very rich or royalty that afford to own richly colored goods. (494-95) In 1938, however, virtually everything is decorated with color a “miracle … wrought largely by coal and chemistry.” (495)
The article discusses how new colors have been unlocked from coal tar by chemists. “Locked in this evil-smelling gooey tar were hundreds or even thousands of colors waiting to be released by the magic hand of the chemist.” (495) color advertising and public relations color, and advertising advertising, and color capitalism capitalism, and color color, and capitalism color, and dyes color, and chemists color, and 1930s color, and architecture architecture, and color color, and textiles textiles, and color color, and psychology color, and red color, and blue color, and green color, and theater color, and telegraph telegraph, and color color, and cable color, and chemistry color, and coal tar advertising telegraph The Age of Color 16990 Alberts v. California 354 U. S. 476 (1957) 1957 This case, together with the Roth v. United States case decided the same year, changed the Supreme Court's interpretion of obscenity, one that earlier had been defined by the Hicklin case. Henceforth, it became much hard for prosecutors to convict people for obscenity. U. S. Supreme Court self-regulation Roth case (1957) Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom court cases, and harmful Roth v. U. S. (1957) court cases, and Roth obscenity, and Supreme Court (U. S.), and Alberts case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Roth v. U. S. (1957) obscenity, and Alberts case Roth case (1957) (1957), and Alberts case Alberts v. California 13900 Alcock Forces Suggestive Ads Off Movie Doors; Inquiry Reveals Sex Lure Undermining Business Chicago Daily Tribune
June 15, 1918
13 This article says that although movie content dealing with sex is censored, the posters and ads are “unrestricted.” The article gives lengthy list of sexually suggestive movie titles. Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures censorship, and movie advertising advertising, and censorship motion pictures, and Chicago Chicago, and motion pictures posters, and motion pictures motion pictures, and posters advertising, and posters advertising, and sexuality sexuality sexuality, and movie advertising sensationalism, and sexuality sexuality, and sensationalism advertising posters Alcock Forces Suggestive Ads Off Movie Doors; Inquiry Reveals Sex Lure Undermining Business 31500 All Majors Have Subsids Variety
March 13, 1968
7 One way that the major Hollywood studios got around the motion picture Production Code during the 1950s and 1960s was by creating subsidiary companies. Those companies, unlike the Hollywood majors, were not committed to the Code. self-regulation Hollywood motion pictures censorship and ratings foreign films sexuality motion pictures, and foreign films foreign films, and sexuality Hollywood, and subsidiaries Production Code, and subsidiaries PCA, and subsidiaries censorship, and subsidiaries censorship, breakdown of PCA Production Code Production Code (motion pictures) censorship Production Code Administration (PCA) All Majors Have Subsids 680 Amazing Developments in the Moving Picture Field New York Times
Sept. 7, 1913
X 4, 5 This article estimates that 3.45 trillion photos, or 40,909 miles of films shown daily in the 18,000 movies theaters. “Say that the 18,000 operators throughout the United States run through the machines three 1,000-foot reels of film four times daily, there would at that rate be thrown upon the screen 216,000,000 feet of film. And when it is remembered that each thousand feet of film contains 16,000 single pictures, we arrive at a total of 3,456,000,000,000 complete pictures. [editor's note: Surely a miscalculation. 3.45 billion pictures seems more accurate.] Reduce the number of feet of film to miles, and we have a total of 40,909 miles.” (quotation, X4)
It discusses the improvement in films and notes the rise of good quality educational films, many of which deal with religion. It talks about educational films dealing with army and navy (military) life. It also says the moving picture “drives away dull care from many who can afford no more expensive recreation. While it is accomplishing this it is also sowing seeds of knowledge into minds vulnerable to such an entry only.
This article says that previously theaters had been “showing crimes in their horrible nakedness,” (X4) but now the censors had cleaned up content and now “seldom” does a movie show anything “harmful.” (X4) The article goes on to say that movies are improving, and it gives examples of the number of educational films that deal with religion, sociology, local government, army and navy life, customs, folklore, medicine, science, technology, and history (says 272 films make up history films). Movies will not replace books in schools but will “revolutionize our educational system. (quotation, p. X4) Says the moving picture “drives away dull care from many who can afford no more expensive recreation. While it is accomplishing this it is also sowing seeds of knowledge into minds vulnerable to such an entry only.
“The same lessons in printed form would probably reach a tenth of those brought under the spell of the ‘movies.’” ( X5)
Quoting from a letter from a scenario editor of a large film company: “‘What the outcome of moving pictures will be no man can predict. Their vast possibilities have not even been touched upon. In all lines of learning they have become an eminent factor and the surface of development has hardly been scratched.’” (X5)
With regard to movie theaters the article says that “the country is fairly studded with these little theaters. Figuratively speaking, they have sprung up over night, reminding you of so many mushrooms which bob up before your eyes as you walk through the field after a heavy rain.” 1,200 movie theaters in NYC; 18,000 in US and 10.8 million attend daily. Movies are now in every village. censorship censorship words vs. images photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space photography and visual communication cameras photography, 3.4 trillion images vs. words education motion pictures, and education education, and motion pictures religion religion, and motion pictures motion pictures, and religion theaters motion pictures, and theaters theaters, as mushrooms theaters, and motion pictures metaphors democracy motion pictures, and democracy democracy, and motion pictures motion pictures, and printing press motion pictures, as positive force military communication military communication, and motion pictures censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and crime motion pictures, and crime metaphors, and mushrooms motion pictures, and New York New York, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures audiences audiences, and theaters theaters, and audiences motion pictures, and attendance Amazing Developments in the Moving Picture Field 1350 American Art Posters of the 1890s New York Metropolitan Museum of Art; Distributed by Harry N. Abrams, Inc.
1987
This book is about art posters in the Metropolitan Museum of Art in New York. There are three relatively brief essays followed by pictures of the posters. The last section is an annotated catalogue of the posters in the museum. See under individual author: Phillip Dennis Cate, Nancy Finlay, and David W. Kiehl. posters, late 19th century photography non-USA posters photography and visual communication posters color museums color, and posters posters, and France (late 19th century) posters, and United States (1890s) posters, and France American Art Posters of the 1890s 13640 American Films Now Circle the Globe New York Times
June 30, 1912
X 8 This article says that American films are preferred in other countries although “the life of the films manufactured in the United States is said to be much shorter than that of most other films.” American films in almost every country and even are popular in China. Cowboy films popular but their popularity is now on the wane. Many want at least one scientific film about bird and animal life or industrial and commercial welfare. Types of films not liked love affairs; fooling or mocking police and government officials; pictures instilling “revolutionary ideas in the heart of the youth.”
The subtitle of this article reads: "Subject Matter of Moving Pictures is Given as Reason for Popularity. Demand Is for Real Life. Japan Considers Our Actors Inferior Reports on Enterprise from China to Turkey." nationalism history motion pictures, and Americanism motion pictures motion pictures, and nationalism nationalism, and motion pictures motion pictures, foreign nationalism and communication motion pictures, and Americanization motion pictures, and westerns history and new media motion pictures, and history history, and motion pictures motion pictures, and westerns motion pictures, and U.S. films abroad American Films Now Circle the Globe 42110 An American Pantheon Suggested: Current History to be Preserved for Posterity New York Observer and Chronicle
Sept. 7, 1911
89 36 313-14 This article discusses Alexander Konta's ideas for historical preservation and the creation of the Modern Historic Records Association. Konta pointed out how very little was really know of ancient Egypt, Greece, and the Middle Ages because records were either not kept or were destroyed. He then asked "'What is this advanced civilization of our doing for the enlightenment of the historians of the far distant future?'" (313, Konta quoted) The Egyptians, he said, "'at least wrote on stone to a far greater degree than we do, who trust the accounts of our current history to the most perishable of mediums of preservation -- paper.'" (313, Konta quoted) Konta when on to say that "'the written word will always be the chief source of information for historians.'" He suggested: "'why not make it imperishable by photographing the written word after it has been printed in books and newspapers and preserve the plate in a fireproof vault? Why not do the same thing with documents of State? It is the same with portraits of the great men of the past. Look at the contradictions, the uncertainties. How little we know of how they looked!'" (313, Konta quoted)
Konta urged documenting more than great men or important events, however. He said that "'history is not longer past politics, or past wars, or past leaders. It is a matter of all that the oldtime historians neglected, of the daily life of the common people, or their economic arrangements and social ways of the pioneer, the settler, the trader on the frontier. These are records that we purpose to preserve for posterity as well as the documentary evidence of so-called "great" events. And mind you, these records will be most needed, and be most serviceable, if our present civilization continues to develop without breaks or interruptions. We cannot make too many records of the present to leave to posterity, and we cannot make them too durable.'" (313, Konta quoted)
Konta proposed to use the most modern communication technology of the time to preserve the past. "'Why not enlist the services of the phonograph and the moving picture machine, of all the reproductive mechanical inventions of the present era?'" he asked. (313, Konta quoted) He argued that filming important speeches and recording them on the phonograph would enhance their value for historians who might otherwise have only the printed version of the speech. "'The time is coming when the phonographic reporter and perhaps the vitagraph reporter as well will take their places beside the stenographers in the parliaments of men.'" (313, Konta quoted)
Konta's goal was "'to create for posterity a "living picture" of our era such as we should like to have of the life and the men and the events of the past. The word "history" in the name of our association is employed in the widest modern sense. It includes science and mechanics, art and music, our daily life in town and country in all its significant phases, as well as the politics that will be past to-morrow. And while waiting for posterity to come we shall make duplicates of our records and use them in our schools and lecture rooms.'" (313, Konta quoted) history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonography phonograph, and historical preservation historical preservation, and phonograph Konta, Alexander, and historical preservation historical preservation, and Alexander Konta Modern Historic Records Association paper materials, and paper paper, and historical preservation historical preservation, and paper parchment materials, and parchment materials, and paper history, and paper historical preservation, and paper photography historical preservation, and photography history, and photography photography, and historical preservation An American Pantheon Suggested: Current History to be Preserved for Posterity 39920 Amusement as a Factor in Man's Spiritual Uplift Current Literature
Aug. 1909
47 2 185-88 This article discusses Professor Simon N. Patten's (University of Pennsylvania) observations on coming into a city have a vacation in the country. "The change was distinctly for the worse," it says. "They had left a mountain-camp in the morning, happy and care-free, and they had become, without knowing it, formal and irritable as they returned to civilization." (185) On a "brightly-lighted street" in the town's center, Patten "something strange...." "It seemed to have only one side: and the people's faces were turned one way. The side to which people flocked was light; the other side was, comparatively speaking, dark." (185) On the dark side of town were the "very Institutions of Civilization itself" (quoting Patten) (186) -- the library, high school, and church.
The work presents an excerpt from Patten's work (here titled "Product and Climax. By Simon Nelson Patten, New York: B. W. Huebsch") (186 n). Quoting Patten, it was on the "'wrong side', where all the right things were assembled'"
Patten then describes the "right" side of the street where people were attracted: Quoting Patten: "'It was festooned with lights and cheap decorations meant only for fair weather;... beside penny shows and the gay vestibules of nickel theaters. Opposite the barren school yard was the arcaded entrance to the Nickelodeon, finished in the white stucco, with the ticket seller throned in a chariot drawn by an elephant trimmed with red, white and blue lights. A phonograph was going over and over its lingo, and a few picture machines were free to the absorbed crowed which circulated through the arcade as through the street. Here were the groups of working girls -- now happy "summer girls" -- because they had left the grime, ugliness and dejection of their factories behind them, and were freshened and revived by doing what they like to do....'" (186)
The article paraphrases Patten when it says "How strange it was the stimulation of pleasure should be the only part of life for which there existed no distinctive institution!" (187)
This article laments the spread of industrial civilization, and says that "It is when fatigue, dejection, indifference, bitterness and disease are dominant that the dark side of the street brightens up and the moral agencies take heart again. Their constituency, Professor Patten affirms, is the devitalized. Their message is to those who battle against industrial civilization calls for the solace of religion and the alms of charity...." (187)
Patten likened the movies to the saloon. "The next higher form of climax lies in the melodrama and its allied cheap shows, such as the nickel theater or 'moving picture' show. These latter are rated by Professor Patten as 'the first amusement to occupy the economic plan that the saloon has so long exclusively controlled.' Their enormous popularity is proof that they appeal to the foundation qualities of man. They are, moreover, upbuilding, from Professor Patten's point of view, for the pictures they present of exciting adventures rouse the imaginative and concentration which have lapsed in humdrum toil. A conservative estimate puts the number of people in New York City who daily visit the nickelodeon at 200,000. Here is a tremendous factor in the imaginative life of the people, for good or for ill." (188) Patten also likens movies to sports. Quoting Patten: "'In the lower realm, where religion and morality do not act, amusements and sports are the only effective motives to elevate men. Sport is the beginning of inspiration, just as amusement is the lower round of regeneration.'" (188) electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity advertising and public relations electricity, and advertising advertising, and electricity metaphors metaphors, and light and civilization critics critics, and modern entertainment Patten, Simon, and urban life anti-urbanism electricity, and anti-urbanism electricity, and Simon Patten women women, and movie theaters theaters critics, and theaters motion pictures motion pictures, and urban life critics, and Nickelodeons color advertising, and color color, and advertising color, and urban life motion pictures, and Simon Patten motion pictures, and saloons theaters motion pictures, and theaters theaters, and motion pictures phonograph sound recording sound recording, and phonograph phonograph, and motion pictures motion pictures, and phonograph advertising Amusement as a Factor in Man's Spiritual Uplift 18030 An Analysis of the Motion Picture Industry, 1946-1953: Volume I Box 9, Mss 1446, Records of the National Association of Theater Owners (NATO), Special Collections and Manuscripts, Harold B. Lee Library, Brigham Young University, Provo, UT Folder 8, Box 9, Mss 1446, Utah -- Provo -- Brigham Young University -- Harold B. Lee Library -- Special Collections and Manuscripts This analysis of the motion picture industry during the years immediately following World War II was done for the National Association of Theater Owners (NATO). During this period, the movie industry suffered a serious decline in attendance. This report indicates, for example, that inn 1953, 5,347 theaters operated in the red on their total operations, and another 7,029 theaters were in the red on income from selling ticket but managed to stay in business on profits from concessions. audiences National Association of Theatre Owners (NATO) theaters National Association of Theatre Owners (NATO) theater owners archives motion pictures law censorship and ratings censorship audiences archives NATO theaters censorship, and NATO NATO, and censorship NATO motion pictures, and postwar decline audiences, and motion pictures motion pictures, and audiences An Analysis of the Motion Picture Industry, 1946-1953: Volume I 20360 Analysis of the Motion Picture Industry, 1946-1953: Volume II: An Appendix to Volume I Box 9, Mss 1446, Records of the National Association of Theater Owners (NATO), Special Collections and Manuscripts, Harold B. Lee Library, Brigham Young University, Provo, UT. Folder 9, This analysis of the motion picture industry during the years immediately following World War II was done for the National Association of Theater Owners (NATO). During this period, the movie industry suffered a serious decline in attendance. This report indicates, for example, that inn 1953, 5,347 theaters operated in the red on their total operations, and another 7,029 theaters were in the red on income from selling ticket but managed to stay in business on profits from concessions. audiences National Association of Theatre Owners (NATO) theaters National Association of Theatre Owners (NATO) theater owners archives motion pictures law censorship and ratings censorship audiences archives NATO theaters censorship, and NATO NATO, and censorship NATO motion pictures, and postwar decline audiences, and motion pictures motion pictures, and audiences Analysis of the Motion Picture Industry, 1946-1953: Volume II: An Appendix to Volume I 42410 Animated Journalism World's Work
Oct. 1910
20 13476-77 This article reports on the increasing use of cameras to record daily events. It asks "To what lengths is the camera going as a factor in modern life?" (13476) It then says that "The psychology of the trained photographer, whose instinctive impulse, when a shot is fired or a magazine explodes, is to press the button of his camera, would be an interesting study, but the fact that the omnipresence of the machine is rapidly creating a complete pictorial mirror of life is more important." (13476)
The article notes that cinematograph manufacturer Pathé Fréres has set up a daily news service using motion pictures. "The enterprise, which goes by the name of The Animated Gazette, is a complete news organization, with an editor, Mr. Steer, who has abandoned the old methods of Fleet Street for the new journalism and a staff of 5,000 'photo-correspondents' scattered pretty well over the world." (13477) The piece predicts that "There is little doubt that the new idea will soon be at work in America." (13477) wireless communication wireless journalism journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines cameras cameras, and availability cameras, portable cameras, and journalism books, periodicals, newspapers newsreels journalism, and newsreels photography, and science modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures electricity electricity, and photography photography, and electricity wireless, and photography photography, and wireless telegraph telegraph, and photography photography, and telegraph war journalism, animated metaphors metaphors, and camera as mirror newsreels, and Pathé Frères photojournalism non-USA non-USA, and Great Britain non-USA, and photojournalism Great Britain, and photojournalism photojournalism, and non-USA photojournalism, and Great Britain Great Britain magazines photography Animated Journalism 38480 Announcement: McClure's Magazine Is Published Monthly with Illustrations McClure's Magazine
June 1893
1 1 94-96 This three-page announcement says that the magazine will be published with illustration, the it will carry material on "the edge of the future," (94) and that it will focus on the "newest knowledge." (96) wood engraving journalism journalism fame celebrity magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality magazines, and photographs photography and visual communication photography, and half tones half tones half tones, and magazines magazines, and half tones wood engraving, and magazines magazines, and wood engraving photo engraving photo engraving, and magazines magazines, and photo engraving Announcement: McClure's Magazine Is Published Monthly with Illustrations 31750 Any More at Home Like Brigitte? Life
Nov. 24, 1958
45 101-02 One of several articles in mainstream U. S. magazines publicizing Brigitte Bardot after her movie And God Created Woman. This piece is about Brigittes' younger sister. magazines Bardot, Brigitte magazines, and sexuality sexuality women women, and magazines magazines, and sexuality motion pictures motion pictures, and Brigitte Bardot Any More at Home Like Brigitte? 25610 Archdiocese Demands Stronger Anti-Porn Laws and Prosecution Los Angeles Times
March 15, 1987
A 32 This article discusses the efforts of Cardinal Roger M. Mahoney of the Archdiocese of Los Angeles to promote stronger anti-pornography laws and prosecution. This came in the aftermath of the Meese Commission report and at a time when cable televsion and video cassettes were making pornography much more available to the public. The article also discusses Dennis Jarrard and the archdiocese's Commission on Obscenity and Pornography. Motion Picture Association of America (MPAA) video cassette recorders (VCRs) MPAA values Christianity magnetic recording video rentals values sexuality motion pictures religion values morality Hollywood videotape magnetic tape Catholic Church boycotts motion pictures and popular culture morality, and motion pictures values values, and motion pictures motion pictures, and values motion pictures, and values Catholic Church, and motion pictures Catholic Church, and new production code (1992) Mahony, Roger Mahony, Roger, and production code (1992) (1992) Valenti, Jack Valenti, Jack, and new production code (1992) Mahony, Roger, and pornography pornography, and Roger M. Mahony Hollywood, and Roger M. Mahony Archdoicese, Los Angeles pornography pornography, and Archdiocese of L.A. Jarrard, Dennis Morality in Media Citizens for Decency through Law (CDL) National Religious Alliance Against Pornography pornography, and opponents Catholics, and pornography pornography, and boycotts pornography, and Catholics VCRs pornography, and VCRs video stores video stores, and boycotts video stores, and pornography pornography, and video stores boycotts, and video stores boycotts, and pornography Catholics, and pornography Catholics, and L.A. Archdiocese Catholic Church Archdiocese Demands Stronger Anti-Porn Laws and Prosecution 37670 Are the Lives of Actors Immoral? Current Literature
July 1907
43 1 84-86 This work begins by mentioning other works that discuss the lives of actors and then turns to devote most of its attention to a book recently published by an anonymous author entitled The Seamy Side: A Story of the True Conditions of Things Theatrical (1906). The author of this article says that "in the not too distant past, the stroller was looked upon as a vagrant and social outcast. A marked change has taken place in this view. Prima donnas are frequently represented as paragons of virtue, and theatrical stars are expected to shine in the social world." (84) The Seamy Side, however, challenges this positive view. "Lack of real culture, brutality, egotism and utter disregard for marital ties are laid at the door of the theater" ... where "even the leaders in the profession trade as much in their beauty as in their talent.... Drunkenness, drug habits and all-around rottenness reign ... supreme in the stage world," according to this book, facts that press agents attempt to hide.
The latter half of this article (85-86) then presents the protests against this book, including the refutation offered by J. Harry Benrimo in the Times Saturday Review. Benrimo's acting company had been criticized in The Seam Side. Alan Dale, writing about the book in the Cosmopolitan, is also noted. (86) theaters stars (actors) theater public relations press agents journalism fame entertainment, and journalism entertainment celebrity anti-theatrical bias critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality magazines theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality women women, and theater theater, and women critics critics, and actors critics, and theater critics, and professional acting motion pictures, and stars (origins) news and journalism actors, and journalism journalism, and actors actors, and newspapers newspapers, and actors magazines, and actors actors, and magazines fan magazines magazines, fan press agents, and actors actors, and press agents advertising and public relations actors, and public relations public relations, and actors false leaders false leaders, and actors actors, as false leaders entertainment, and news entertainment, and journalism journalism, and entertainment news, and entertainment celebrity culture, and journalism celebrity culture, and newspapers newspapers, and celebrity culture journalism, and celebrity culture motion pictures, and The Seamy Side censorship advertising audiences motion pictures news press Are the Lives of Actors Immoral? 39480 Arrival of a New Stage in the Art of the Movies Current Opinion
April 1915
58 4 251 This article comments on Reverend Dr. Thomas B. Gregory, who said that D. W. Griffith's movie Birth of a Nation was a masterpiece and demonstrates for the first time the educational possibilities of cinema. According to this piece, Gregory believed that he had seen a literal recreation of history. "That the story as told by the picture is true the Reverend Doctor Gregory is ready to swear on the Bible, the Koran, and Zend and all the other 'Holy Scriptures' put together. He know it is true because he lived through the actual realities themselves. He saw the real carpet-baggers, the real 'New Voters,' the real reconstruction 'Statesmen,' the real Ku Klux Klanners. He is prepared to say that not one of the more than five thousand pictures that go to make up the wonderful drama is in any essential way an exaggeration. They are and all faithful to historic fact, he says, so that, looking upon them, you may feel that you are beholding that which actually happened." history motion pictures history and new media motion pictures, and history history, and motion pictures Griffith, D. W. motion pictures, and D. W. Griffith motion pictures, and Birth of a Nation history, and Birth of a Nation Birth of a Nation, and history motion pictures, and Thomas Gregory Birth of a Nation, and Thomas Gregory motion pictures, and Birth of a Nation Birth of a Nation history Arrival of a New Stage in the Art of the Movies 31450 Art, Exploitation Audiences Bait for TV: Only Sex Lure 'Em Back Variety
July 23, 1952
18 During the late 1950s and 1960s, movies from France, Italy, Sweden, Germany, Japan, and Argentina dealt explicitly with sex. Often these films were renamed and advertised for American audiences in ways that exaggerated their sexual content. Early on foreign film exhibitors realized that “the raw, unvarnished approach to sex” would attract not only the raincoat crowd but also “discriminating” customers who wanted “primitive honesty” in the treatment of sex. motion pictures motion pictures, and foreign films sexuality television motion pictures, and television television, and motion pictures foreign films, and sexuality sexuality, and foreign films foreign films Art, Exploitation Audiences Bait for TV: Only Sex Lure 'Em Back 38000 Art Growth in Posters Current Literature
May 1895
17 5 422-23 This article begins by saying that the French have taken the lead in improving artistic design and production of posters. Photography, however, has not yet played as big a role in posters as many assumed in 1895. "The great advances made in poster-work in the United States have been due to three things: to improved processes of lithography, to the great national spirit of competition, and to the growing number of young American artists who do not consider it beneath their artistic dignity to draw a circus pictures, provided they draw it well, who have turned the lithographers' rooms in New York, Cleveland, Boston, Cincinnati, and Chicago into veritable 'ateliers.'" (422) The quality of "show posters" for theater and circuses is of much higher quality than it was with woodcuts were used. The article discusses lithography. "Very nearly all the lithographic stone used for poster-work in this country is imported from Bavaria," it says. (422) The article focuses on black-and-white posters as "the color scheme has yet to be evolved." (423) It considers how color is added to black-and-white schemes. Better presses and the need for speed effect the nature of lithography and newspaper reporting. "Neither plan may produce a classic work, but both plans do produce work that is full of the color and life of the moment and the man." (423) As many as 12 to 20 artists may work on the same drawing and must blend their styles "into a harmonious whole." (423)
The author says that "the younger illustrators have gone boldly into the new swirl with a flat-tint brush in each hand, and in the impressively grotesque and the extravagantly attractive have out-Chereted Cheret." (422) The article concludes by saying that one "need only a glance at the New York bill-boards to show that the show posters of to-day are full of a chic, spirit, good drawing, and excellent detail not always found in many things that attain the dignity of gilt frames and gallery exhibitions." (423) wood engraving theater Chicago, IL photography and visual communication photography, and half tones half tones wood engraving, and posters posters, and wood engraving photo engraving advertising and public relations advertising, and posters posters, and advertising advertising, and theater theater, and advertising France France, and posters posters, and France France, and advertising advertising, and France lithography lithography, and posters posters, and lithography color posters, and color color, and posters photography, and posters posters, and photography Chéret, Jules, and posters posters, and Jules Chéret color, and grotesque posters color, and circus posters posters, and circus modernity, and color posters advertising Chéret, Jules modernity photography posters Art Growth in Posters 390 The Art of Book and Newspaper Illustration. 1 American Architect and Building News
Feb. 17, 1894
43 947 78-80 This article on page 80 discusses recent developments in newspaper illustration. It talks about the role of the photographer in newspaper illustration and how the artists who draws pictures is being used less and less. It also notes that wood-engraving is being replaced by photo-engraving. "At present we are casting off -- ungratefully it would seem -- the experience of the life time of the wood-engraver, and are setting in its place an art half-developed, half-studied, full of crudities and discords. The illustrations which succeed in books and newspapers succeed, for the most part, from sheer ability on the part of the artist; they are full of ability, but, as a rule, are bad examples for students to copy. 'Time is money' with these brilliant executants; they have no time to study the value of a line, nor the requirements of the processes, and so a number of drawings are handed to the photo-engravers -- which are often quite unfitted for mechanical reproduction -- to be produced literally, in a few hours. It is an age of vivacity, daring originality, and reckless achievement in illustration." (80)
The article also comments on the important of electric lighting. "It enables the photographic operator to be independent of dark and foggy days, and to put a search-light upon objects which otherwise could be utilized. So far, good. To the illustrator this aid is often a doubtful advantage." (80) wood engraving journalism magazines, and photography magazines photography electricity home and new media electricity, and newspapers electricity, and books newspapers, and electricity magazines, and electricity photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and Daily Graphic photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving home The Art of Book and Newspaper Illustration. 1 29160 [article] St. Louis Post Dispatch
June 5, 1969
1A, 13A This article discusses the National Commission on Causes and Prevention of Violence. Motion Picture Association of America (MPAA) MPAA television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media television, and effects motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures violence, and bibliography bibliographies bibliographies, and TV violence National Commission on Causes and Prevention of Violence hearings, Causes and Prevention of Violence (1969) Valenti, Jack, and media violence Valenti, Jack, and Congress children social science research Valenti, Jack hearings [article] 33310 Artistry on a Glowing Screen: The New, Natural Look in Computer Graphics Time
Aug. 5, 1985
68-69 This article discusses computer images shown at the Association for Computing Machinery's Special Interest Group on Computer Graphics (SIGGRAPH) in 1985. It notes that while the results resembled surrealistic painting or photographs, "the methods used require more mathematics than arrtistry." (68) The article goes on to say that "The basic techniques by which this translation is accomplished were laid out in the late '60s and early '70s by two University of Utah professors, Ivan Sutherland and David Evans, in fulfillment of a contract for the U. S. Department of Defense. Their task: to build a flight simulator for pilot training that would show on a screen the same unfolding landscape the piolot would see from the air. To do this, the Utah scientists first had to program nto the computer a precise mathematical model of every tree, house and mountain in the flight path." (68) computers computers motion pictures computer graphics motion pictures, and computer graphics special effects special effects, and motion pictures special effects, and computers motion pictures, and special effects computers and the Internet photography digital photography digital media flight simulators digital media, and flight simulators digital media, origins Artistry on a Glowing Screen: The New, Natural Look in Computer Graphics 37140 Asks Jews to Uplift Stage Chicago Daily Tribune
Aug. 8, 1909
1 This article reports that "Jewish citizens of the United States and especially those residing in New York are called upon by Rabbi Alexander Lyons to assist in the uplifting of the modern drama.
"Dr. Lyons makes his appeal in an article on 'The Purification of the American Stage,' which appears in the August number of the Federation Review." theater Jews Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings anti-Semitism, and motion pictures motion pictures, and anti-Semitism religion values religion, and motion pictures values, and motion pictures motion pictures, and religion motion pictures, and Jews Jews, and motion pictures motion pictures, and values censorship, and Jews Jews, and censorship censorship, and religion religion, and censorship motion pictures, and Chicago Chicago, and motion pictures religion, and theater values, and theater theater, and religion theater, and Jews Jews, and theater theater, and values anti-Semitism Asks Jews to Uplift Stage 14550 Assails ‘Puritans’ Sunday’ New York Times
July 17, 1916
9 The subtitle of this article reads: "Dr. Fitch Says Working People Have Right to Recreation." censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and Sunday movies motion pictures, and blue laws censorship, and blue laws motion pictures, and New York New York, and motion pictures censorship, and critics critics critics, and censorship motion pictures, and class religion religion, and motion pictures motion pictures, and religion Assails ‘Puritans’ Sunday’ 39930 The Assertive Billboard American Architect and Building News
July 22, 1908
94 1700 31 This article laments the spread of colored billboards that are offensive to good taste and which defile the beauty of nature. "The dweller in large cities finds his aesthetic sensibilities constantly affronted by the insistent demands on his attention by advertisements that flaunt their announcements at every turn. Whether he saunters upon the surface, betakes himself to the elevated cars, or drops into the subway, these vari-colored posters, whose color schemes offend good taste, claim his notice.... If we walk abroad these offensive billboards stare at us with all their ugliness; if we take train for some distant city we find the entire route lined with signs, and, while we may object to this defacement of the landscape, the discordant note in a beautiful view -- and it always happens that the most assertive signs are set up in the most picturesque places -- we cannot cease to admire the skill of the advertiser who so persistently repeats his story between New York and Washington,, that it is indelibly fixed on one's memory." The story concludes by lamenting that the city committee in New Bedford has permitted advertisers to cover the fence about the municipal building. billboards art advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards critics critics, and billboards advertising The Assertive Billboard 6600 Astonishing Success of Drawing Room Cinema The Times [London]
Jan. 4, 1913
4 This is a newspaper advertisement for a home movie camera. illustrations home home history electricity motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison education motion pictures, and education education, and motion pictures home, and electricity electricity, and home electricity, and home entertainment illustrations illustrations, and home entertainment illustrations, and home movies home entertainment, and illustrations Astonishing Success of Drawing Room Cinema 840 At the Playhouses Los Angeles Times
July 10, 1896
36 This article talks about what was shown at the premiere of Vitascope in Niagara Fall -- e.g., a kissing scene, and a “graceful woman who danced in skirts.” motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences kinetoscope audiences motion pictures, and audiences audiences, and motion pictures motion pictures, and sexuality sexuality, and motion pictures sexuality At the Playhouses 5140 Atlantic Telegraph: Its History, from the Commencement of the Undertaking in 1854, to the Sailing of the ‘Great Eastern’ in 1866 London Bacon and Company
1866
This work is interesting for the fact that it is a history of the transatlantic cable published in 1866. It also has a map of proposed submarine and land telegraphs in 1866. In addition, it has diagrams of the cable used. non-USA telegraph telegraph, and maps of telegraph, transatlantic cable, and transatlantic (maps) cable, transatlantic telegraph, and transatlantic (maps) cable, submarine cable cable, Atlantic Atlantic Telegraph: Its History, from the Commencement of the Undertaking in 1854, to the Sailing of the ‘Great Eastern’ in 1866 17170 Avatar (Boston)
1960s
The Boston Avatar was an underground newspaper during the 1960s, one that, like other underground papers, used relatively inexpensive printing technology and made innovative use of color. underground films underground media underground cinema news and journalism color color underground newspapers Avatar (Boston) 490 Baldwin at London Los Angeles Times
Sept. 21, 1902
2 This article talks about the first moving pictures of the Arctic history motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel education motion pictures, and education education, and motion pictures Baldwin at London 500 Baldwin Tells of Trip Chicago Daily Tribune
Sept. 21, 1902
14 This article discusses the first moving pictures taken of the Arctic. The article's subtitle reads: "Arctic Explorer Gives Further Details of Voyage." history motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel education motion pictures, and education education, and motion pictures Baldwin Tells of Trip 13690 Ban Immodest Postals Los Angeles Times
March 11, 1909
II 10 This article reports that “The immodesty of many picture post cards and the immorality of moving-picture shows occupied the attention of the South Coast Civic League….” stage post office postal service French postcards eroticism censorship postcards censorship censorship, and French postcards French postcards, and censorship censorship and ratings sexuality postcards, and sexuality sexuality, and French postcards nationalism and communication postcards, and nationalism nationalism, and postcards non-USA France motion pictures, and French influence stage and theaters, and French influence France, and postcards in U.S. religion religion, and postcards postcards, and religion non-USA non-USA, and French postcards values immorality values, and French postcards immorality, and French postcards French postcards, in U.S.. eroticism, and French postcards motion pictures values, and motion pictures motion pictures, and values motion pictures, and French postcards nationalism Ban Immodest Postals 15450 Beauty and Brains Chicago Daily Tribune
Oct. 1, 1916
I 4 This ad is about a "Beauty and Brains" contest and Photoplay magazine. The writer Kitty Kelly is also mentioned. journalism celebrity celebrity culture magazines, and photography magazines photography photography and visual communication women women, and photography photography, and women women, and motion pictures motion pictures, and women advertising, and women women, and advertising advertising and public relations sexuality sexualty, and advertising advertising, and sexuality magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines Photoplay motion pictures, and fan magazines fan magazines celebrity culture motion pictures, and celebrity advertising, and celebrity motion pictures, and fame advertising, and fame Kelly, Kitty actors acting advertising motion pictures news and journalism Beauty and Brains 14480 Beauty Pervades New Show Shop Los Angeles Times
April 1, 1917
III 23 This article notes that the "Rialto Picture Theater’s To Open Soon." motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as palace Beauty Pervades New Show Shop 15310 Before the Camera. Photographing Statesmen and Generals. The Vanity of Posing Public Men Exposes Itself Los Angeles Times
March 11, 1894
13 The sub-title of this article reads: "President Cleveland and Wife in the Photograph Gallery. Talks with Photographers. Arthur and Garfield -- … The Cabinet and the Camera." fame celebrity celebrity culture photography presidents and new media photography and visual communication motion pictures presidents, and photography McKinley, William Arthur, Chester Cleveland, Grover McKinley, William, and photography photography, and William McKinley Arthur, Chester, and photography Cleveland, Grover, and photography photography, and Chester Arthur photography, and Grover Cleveland false leaders false leaders, and photography photography, and false leaders photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality personality Before the Camera. Photographing Statesmen and Generals. The Vanity of Posing Public Men Exposes Itself 38330 Being Photographed Life
Aug. 12, 1909
54 1398 224 This article begins by saying that "no one ever admits that he goes to be photographed of his own volition.... But behind this screen hides vanity, perhaps; or the desire to see himself as others see him. He wishes to get out of the island of self and have an exterior glimpse at his personality. In the uncertainty of life some record should be left for posterity, even if the man portrayed be ... commonplace...." The article says that photographic portraits "each represents a distinct personality" but that those pictured "all are as it were in a trance...." The subject, "seated in a chair ... feels at once the spell of the studio. The camera, always mysterious, points at him." The photographer is more likely to get a natural image when he takes a picture of someone when they are not aware that they are being photographed. fame celebrity celebrity culture modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality personality photography Being Photographed 15620 Being Photographed New York Times
Jan. 11, 1914
X 7 According to this article, actors say that being photographed in England is more of an event than in the U. S. fame celebrity actors acting photography motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality Being Photographed 24240 Bennett Urges Entertainment Industry to Join War on Drugs St. Petersburg Times
Oct. 24, 1989
3A William Bennet, then head of the nation's war on drugs, here urges the motion picture industry to be more active in antidrug campaign. Motion Picture Association of America (MPAA) MPAA Bush, George H. W. Valenti, Jack presidents, and new media Bush, George H. W. administration values motion pictures Hollywood Bush, George H. W. Hollywood, and substance abuse Bush administration (1989), and substance abuse Bennett, William, and Hollywood Valenti, Jack, and war on drugs Valenti, Jack, and George Bush (1989) values, and motion pictures motion pictures, and values values Bennett Urges Entertainment Industry to Join War on Drugs 17190 Berkeley Barb
1960s
The Berkeley Barb was an underground newspaper during the 1960s, one that, like other underground papers, used relatively inexpensive printing technology. underground films pornography underground media underground cinema news and journalism color color motion pictures, and popular culture motion pictures motion pictures, and pornography advertising pornography underground newspapers advertising and public relations Berkeley Barb 14310 Berlin Safeguards Picture Theaters New York Times
June 30, 1915
15 The subtitle to the article reads: "Strict Rules to Prevent Fires Rigidly Enforced, Write Consul Thackara. No Inflammable Film. None Yet in Use by the German, He Says Paris Also Take Precautions Against Fire." motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire harzard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children women women, and movie theaters motion pictures, and women electricity, as fire hazard non-USA Germany Germany, and motion pictures Germany, and celluloid France France, and motion pictures France, and celluloid children Berlin Safeguards Picture Theaters 37160 Bernard Shaw's Utopian Vision of the Films of the Future Current Opinion
June 1915
58 6 411 This article draws on George Bernard Shaw's article in Metropolitan Magazine entitled "What the Films May Do to the Drama," and quotes Shaw predicting that moving pictures "will compete so successfully with the spoken drama that it will drive it to its highest ground and close all paths to it except those in which its true glory lies -- that is, the path of high human utterance of great thoughts and great wit, of poesy and of prophecy, or, as some of our more hopelessly prosaic critics call it, the Path to Talk." Shaw believed that even better things will be achieved once the phonograph and cinema are synchronized successfully.
These developments will lead to the increasing fame of actors and actresses. No longer will the great performer "be condemned to the inhuman task of playing his great parts for hundreds of consecutive nights, 'nor to relinquish his art under the strain of excessive and useless repetitions of his parts as an actor.' We shall hear no more of the 'fugitive fame' of the actor's art. The Hamlet of Forbes Robertson, for instance, filmed and recorded, may delight posterity, generation after generation:" [quotation from article's author]
[quoting Shaw] "'If this come to pass, the actor's fame will spread both in time and space. This is occurring already. I have never seen Max Linder in the flesh; nor have I even been within miles of the American Vitagraph company of players. Yet I am as familiar with their persons and their acting as I was in my youth with Buckstone's Haymarket Company or later on with Augustin Daly's Company.'" (my emphasis) Shaw laments there were not films to capture their work and they says: "'What a life it will be when all the theaters will be picture theaters, and all the players immortal.'"
Shaw looked "forward ... to that delightful time when all the great orations and political speeches are filmed and recorded for the benefit of Democracy .... He concludes" [quotation from article's author"
[Shaw quotation] -- "'I shall not be at all surprised if the cinematograph and phonograph turn out to be the most revolutionary inventions since writing and printing, and, indeed, far more revolutionary than either; for the number of people who can read is small, the number of those who can read to any purpose much smaller, and the number of those who are too tired after a day's work to read without fall asleep enormous. But all except the blind and deaf can see and hear; and when they begin to see farther than their own noses and their own nurseries, people will begin to have some notion of the sort of world they are living in; and then we, too, shall see -- what we shall see.'" (my emphasis) theater stage history history fame fame celebrity metaphors actors acting future and science fiction motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures theater and stage motion pictures, and stage stage, and motion pictures future, and motion pictures motion pictures, and talking films Shaw, George Bernard Shaw, George Bernard, and motion pictures Shaw, George Bernard, and talking films Shaw, George Bernard, and movie stars motion pictures, and George Bernard Shaw history and new media motion pictures, and history history, and motion pictures historical preservation historical preservation, and George Bernard Shaw historical preservation, and George Bernard Shaw motion pictures, and historical preservation Shaw, George Bernard, and sound recording sound recording, and George Bernard Shaw sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars actors, and status of motion pictures, and printing press motion pictures, and writing motion pictures, and revolutionary motion pictures, and stars (origins) duplicating technologies duplicating technologies, and motion pictures motion pictures, and duplicating technologies future Bernard Shaw's Utopian Vision of the Films of the Future 35320 The Best Man Franklin J. Schaffner United Artist
1964
By 1961 there were several movies in production in which homosexuality was a major theme, even though the movie industry's Production Code forbade this topic. These films included Otto Preminger’s Advise and Consent (Columbia, 1962), John Huston’s Freud (Universal, 1962), United Artists’ The Best Man (1964), starring Henry Fonda, United Artists’ The Children’s Hour, and The Devil's Advocate. Gore Vidal wrote the screenplay for The Best Man.
Summary from American Film Institute Catalog: "At a U. S. presidential nominating convention in Los Angeles, the leading presidential candidates are William Russell, former Secretary of State, and Joe Cantwell, an unscrupulous conservative senator. To avoid scandal, Russell and his estranged wife have reconciled for the duration of the campaign. Cantwell, however, plans to exploit Russell's past history of mental illness. Both candidates seek the endorsement of Art Hockstader, a devious former president, who dies during the convention. Although he is told that Cantwell was an active homosexual in the Army, Russell refuses to divulge this information to the press. Sickened by such slander, Russell ends his candidacy, throwing his support to a third contender. In so doing, he regains his wife's love."

Based on the play The Best Man by Gore Vidal (New York, 31 Mar 1960). The film included newsreel footage of the 1960 U. S. presidential nominating conventions. censorship self-regulation motion pictures, and sexuality sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality The Best Man 32030 Beware Elvis Presley America
June 23, 1956
95 294-95 “Beware Elvis Presley,” the Catholic publication America counseled in 1956. The harmful effects of his music on the young were bad enough when limited to records. “Unfortunately,” the magazine said, “Presley makes personal appearances.” And those appearances were denounced in many local newspapers as “downright obscene” and little more than a “strip-tease with clothes on.” It was one thing to hear Presley’s music, another to read about his performances, but when he began appearing on television in 1956, he was seen and heard by millions. For Presley’s critics, it was an assault on people's homes. If only television and other media “would stop handling such nauseating stuff,” the editors of America lamented, “all the Presleys of our land would soon be swallowed up in the oblivion they deserve.” popular culture rock n' roll sound recording censorship and ratings home and new media rock-n-roll critics magnetic tape recording critics, and rock-n-roll Presley, Elvis television television, and Elvis Presley television, and rock-n-roll home and new media home, and Elvis Presley home, and rock-n-roll home magnetic recording magnetic tape Beware Elvis Presley 27920 Big As Life: An American History of 8mm Films San Francisco, CA San Francisco Cinematheque
[1998]
Feb. 1998 - Dec. 1999 This work is a special edition of Cinematograph: A Journal of Film and Media Art (Feb., 1998 - Dec. 1999), and deals with the history of 8mm films. motion pictures and popular culture motion pictures motion pictures, and amateurism 16mm motion pictures, and 16mm film motion pictures, and new technology motion pictures, and 8mm film 8mm 8mm, and history of Big As Life: An American History of 8mm Films 38350 The Biograph in the Vatican Scientific American
Jan. 14, 1899
80 2 24 This article notes that by early 1899, 17,000 photographs of Pope Leo XIII had been taken with his approval. "Upon the announcement of the recent illness of Pope Leo XIII, it was found that with one exception no authentic photograph of the Pope had been taken during the past six years. Within a few months however no less than 17,000 photographs of the Pope have been taken in the loggia and gardens of the Vatican with the aid of the 'Biograph' camera.
"Mr. William Kennedy Laurie Dickson, representing the Mutoscope and Biograph Syndicate, Limited, of London, England, the English connection of the American Mutoscope Company, went to Rome for the purpose of obtaining moving photographs of the Pope. He had credential from Cardinal Gibbons, Monsignor Martinelli, Archbishop Ireland, and other noted prelates in the United States, and by special permission of the Pope he secured nine series for the 'Biograph' and 'Mutoscope,' and these scenes were exhibited on December 14, at Carnegie Music Hall, New York city, in the presences of Archbishop Corrigan and other distinguished clergymen of the Roman Catholic faith. They had previously been shown to Monsignor Martinelli in Washington and given his approval." (24) fame celebrity celebrity culture photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality religion photography, and religion religion, and photography photography, and Pope Leo XIII Pope Leo XIII, and photography Dickson, W.K.L. Dickson, W. K. L., and photography photography, and Roman Catholics personality American photography The Biograph in the Vatican 30490 Biographical Sketch: Dan Glickman, Secretary of Agriculture
Oct., 2000
July 5, 2004 http://www.usda.gov/agencies/gallery/glickman.htm This website for the United States Department of Agriculture (USDA) provides a biographical sketch of Dan Glickman (through 2000), who replaced Jack Valenti as Head of the Motion Picture Association of American (MPAA) in 2004. It notes that before becoming Secretary of Agriculture under President Clinton, Glickman had been a congressman from Kansas and served on the House Agriculture Committee. There he helped to author four pieces of farm legislation. Glickman was also considered one of Congress's leading experts on aviation policy and wrote legislation establishing product liability protection for the manufacturers of small aircraft. Motion Picture Association of America (MPAA) Classification and Rating Administration CARA Classification and Rating Administration (CARA) motion pictures censorship and ratings censorship MPAA Glickman, Dan MPAA, and Dan Glickman CARA, and Dan Glickman CARA Biographical Sketch: Dan Glickman, Secretary of Agriculture 41830 The Birth of a New Art The Independent
April 6,1914
78 3409 8-9 This article argues that motion pictures are a new art form and that they do "for the drama what printing did for literature." (8) Moving deserved to be considered a new art form, even more than the printing press, which was essentially "a mechanical extension of an old art, ... the art of calligraphy." (8) The movies make "possible for the first time the unlimited reproduction of actual events. This world of ours," it argues, "is in constant motion, and no static art can adequately represent it. There is no such thing as still life, or still anything else in the whole universe. Everywhere and always there is motion and only motion and any representation of reality at rest is a barefaced humbug." (8) "We have now for the first time the possibility of representing, however crudely, the essence of reality, that is motion," the article says, and it goes on to cite Henri Bergson. "'Bergson has shown us what a paralyzing influence static conceptions of reality have had upon history of philosophy and how futile have been all attempts to represent movement by rest.'" (source not given) In short, "the moving picture may mark a new epoch in the history of culture." (8)
The magazine says that henceforth it will review on a regular basis motion pictures just as it would good plays and books. The article notes that there are no standards in the press on what constitutes movie criticism. This article may have been written by the magazine's literary editor, Edwin E. Slosson. history duplicating technologies motion pictures, and motion metaphors actors acting actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity history and new media motion pictures, and history history, and motion pictures motion pictures, and motion motion pictures, and actors actors, and motion pictures critics motion pictures, and critics motion pictures, and printing press duplicating technologies, and motion pictures motion pictures, and duplicating technologies motion pictures, and pulpit Bergson, Henri motion pictures, and movement Slosson, Edwin, and journalism The Birth of a New Art 39660 Black-and-White American Architect and Building News
Aug. 17, 1907
92 1651 55-56 This article is an extract from the Edinburgh Review (July, 1907). It notes that photogravure has influenced black-and-white art in two directions. "It has encouraged direct pen-drawing as counter-distinguished from the etching of the earlier day, and almost transformed its character. Pen-drawing has of course always existed; we find numerous examples of it among the Italian masters, though (for the reasons which were explained above) with these it is rarely naturalistic. Rembrandt practised it; but for his own behalf, not as a 'public' art. Until the invention of photogravure (this, too, was in the sixties) there were no adequate means for reproducing such work. The other form of black-and-white art which has been directly influenced, almost created, by the new 'processes,' is drawing by washes in ink or Indian ink. There were no means of reproducing these, and so using them in illustration, until photogravure was invented." (55) The article then considers Joseph Pennell, a master draughtsman, talking about the atmosphere created in pen-and-ink drawing.
The author argues that two things distinguish modern art -- "its sensitiveness and its unintellectuality. The former is in some fashion the counterpart of the latter. Most modern artists would triumphantly accept the charge of being non-intellectual; only they would translate it into another phrase -- non-literacy. It is the boast, in many regards the legitimate boast, of modern art that it is not literary, that it does not confound two different arts, that it does not tell stories in its pictures, nor appeal to the vulgar emotion of simple curiosity. And it would claim to be much more sensible or sensitive than was the art which immediately preceded it to those emotions which rightly belong to art, to fine tones of color, to harmonies, to all the elements that distinguish real impression got from outward objects, from what we 'know' concerning them. We have seen how modern black-and-white has upon its side freed itself from many bonds which came from literature, has freed itself to a large extent from the tyranny of the line whose title rests much more on its aptness in the giving of information than in the gratification of an artistic sense. One cannot say but that this is a good, if this were all: what is not so good remains behind. For often this artistic sensitiveness degenerates into a sort of hysteria, a sort of delight in all that is intellectually stupid, because it is there not outside the regions of art; and the, passing over as hysteria does to the opposite of its first state, it turns into a pleasure in insensibility, a coarse blotchings, in fantastical ugliness and all other kinds of tomfoolery, such as we find in Beardsley and his school. (56)
"For the 'unintelligence' of modern art, however, that is not so much its special characteristic: it but sadly reflects the unintelligence and unintellectuality of modern life generally -- of modern society, which is marked by a decadence in almost every branch of literature. In that field, in place of the greater histories of an earlier time, works which were literally monuments, it gives us 'treatises' or handbooks; or else those gossipy, half-informed volumes of which the libraries are full. ... This unintellectuality is reflected likewise in art; and, with all other branches of it, the art of drawing in black-and-white." (56) wood engraving modern art decadence photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving books, periodicals, newspapers photography, and books books, and photography photography, and zinc plates words vs. images images vs. words photography, and cameras cameras cameras, and photo engraving photography, instantaneous photography, and photogravure photogravure photography, and art modern art, and photography modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space Pennell, Joseph photography, and modern art modernity, and decadence decadence, and modern art decadence, and modernity critics critics, and modern art non-USA Great Britain color color, and modern art color, and decadence decadence, and color images vs. words words vs. images books news and journalism photography Black-and-White 15280 Black and White Pictures. Do the Public Prefer Them? Moving Picture World
Feb. 19, 1910
7 6 245 This article notes that the public prefers black and white picture (like Biograph’s) but that as matters progress, B&W will be relegated to obscurity as the public comes to want color pictures. “In reference to the article which we printed last week on the subject of orthochromatic moving pictures, several of our friends who are actually engaged in the making and development of the pictures have, in some sort, joined issue with us. They say that the public is at present not educated up either to the perception or the appreciation of moving pictures in which the tone values correctly rendered. In other words, from the purely pictorial standpoint, the public does not know a good picture when it sees it.
“…We concede that the public is not quite ripe for appreciating moving pictures with correct tone values. But that time will surely come.
“And it will come, oddly enough, because of the public’s present preference, that has been pointed out to us by our friends in the manufacturing end of matters a preference for the black and white picture the black and white picture, let us say, of the Biograph kind. This type of picture is deservedly popular, because it gives a fine, rich deposit in the shadows and clear, delicate lights. It has, one might call it, the engraving-like quality which we all appreciate. All the same, however, the human eye is not accustomed to monochrome. Nature, itself, as we have pointed out before, is polychromatic and not monochromatic, that is to say, it is composed of many colors or luminosities or depths or shades. Any convenient term can be chosen for expressing our meaning. And sure enough as the education of the public in moving pictures progresses it will demand that it pictures on the screen shall not be monochromatic, but shall correspond to nature. The result would be that the black and white picture will be relegated to comparative obscurity. Already the change is apparent and is in progress. You have, as we pointed out last week, pictures of the Gaumont and Urban-Eclipse type which are orthochromatic in quality. Then you have the Pathe colored picture, also the tinted picture….”
One might compare this article to Richard Abel's comments about audience preference for black and white film in westerns -- perhaps a reaction to the use of color by Pathé. Urban, Charles photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication color vs. black-and-white motion pictures, and black-and-white kinemacolor motion pictures, and kinemacolor Urban, Charles, and color movies motion pictures, and Charles Urban color, and Charles Urban color, and Pathé Pathé, and color movies Pathé Black and White Pictures. Do the Public Prefer Them? 35740 Blackboard Jungle Richard Brooks Loew's Inc.
1955
This movie was controversial when it came. Some critics, such as U. S. Ambassador to Italy Clare Booth Luce, would not attend the film when it was to be shown abroad because she felt it cast the United States in a bad light. Dore Schary felt the movie was one of the primary reasons the Kefauver hearings investigated the relationship between movies and juvenile delinquency. The film was based on the novel The Blackboard Jungle by Evan Hunter (New York, 1954). The rock n roll music and violence were part of what the film controversial. Songs included: "Rock Around the Clock," words and music by Max C. Freedman and Jimmy DeKnight, performed by Bill Haley and His Comets, Courtesy of Decca Records, Inc; "Go Down, Moses," traditional, arranged by Harry Thacker Burleigh. Music included: "Invention for Guitar and Trumpet" by Bill Holman, performed by Stan Kenton and His Orchestra, Courtesy of Capitol Records, Inc.; "The Jazz Me Blues" by Tom Delaney, played by Bix Beiderbecke and His Gang, Courtesy of Columbia Records.
Plot Summary from American Film Institute Catalog: "As Richard Dadier, a soft-spoken ex-serviceman, accepts his first teaching job in a tough New York City high school, he asks his new principal, Mr. Warnecke, about the school's discipline problem and is assured that at North Manual High, "there is no discipline problem." The other teachers, particularly the cynical Jim Murdock, who calls the all-male school a "garbage can" and cautions Dadier not to turn his back on the students, do not lessen his anxiety. That evening, Dadier celebrates his new job with his wife Anne, who, although deeply in love with her husband, worries not only that her pregnancy will make her unattractive to him, but that she will miscarry as she had once before. Dadier's first day teaching English is discouraging. The pupils, mostly lower-class juvenile delinquents, ignore his requests and call him "Daddy-O," and when he asks Gregory W. Miller, a bright but alienated black student, to use his leadership abilities to promote cooperation in the classroom, the young man just shakes his head. That afternoon, Lois Judby Hammond, another new teacher who seems attracted to Dadier, is nearly raped by one of the students. Dadier severely beats the boy, and the next day, the students greet him with threatening glares and angry silence. After work, Dadier accompanies Joshua Y. Edwards, a new math teacher who passionately loves jazz and swing, to a bar, where they have a drink too many and bemoan the students' hostility. While cutting through an alley to the bus stop, both teachers are brutally beaten by Dadier's student Artie West and his gang of hoodlums. Anne urges Dadier to leave the school, but he declares, "I've been beaten up, but I'm not beaten." While recuperating, Dadier visits his former professor, who assures him that students do want to learn, but that urban schools need more instructors who care. Dadier returns to school, and when the police question him, he refuses to identify his attackers. In class, Artie calls fellow student Pete Morales a "spic," whereupon Dadier remarks that calling one another names, like "spic, mick, and nigger," can lead to big trouble. Later the principal, acting on a confidential student complaint, accuses Dadier of bigotry, but Dadier angrily defends himself. Warnecke finally apologizes and puts Dadier in charge of the Christmas play. Soon afterward, West destroys Josh's prized record collection while his class looks on, leading the discouraged math teacher to resign. Meanwhile, Anne begins receiving anonymous letters and phone calls accusing her husband of infidelity. Unaware of Anne's growing suspicion, Dadier concentrates on his students. He convinces Miller and his singing group to perform their version of "Go Down, Moses" in the Christmas play, and he stimulates an animated class discussion by showing a "Jack and the Beanstalk" cartoon in class. Summarizing the discussion, Dadier encourages the young men to consider the real meaning of what they hear and to think for themselves. Miller later tells Dadier that because black people have limited options, he will drop out of school at term's end, but Dadier maintains that blacks can succeed in the modern world and that some teachers do care. At Christmas, Anne, tormented by the letters, gives birth prematurely, and when Dadier learns what has happened, he assumes the students are rsponsible for the letters and decides to resign. Defeated, Dadier bemoans that, after everything teachers must endure, they earn less even than cooks. Murdock, cured of his cynicism by Dadier's dedication, and Anne, admitting that she should not have doubted her husband, encourage Dadier to remain, and he does take heart when the doctor says his baby son is out of danger. Back at school, Dadier orders West to see the principal when the gang leader flagrantly cheats in class. West threatens him with a knife, ordering the other gang members to jump the teacher. To West's surprise, only Belazi obeys his orders. Following a scuffle, Dadier accuses West of having sent the anonymous letters and then drags him and Belazi to Warnecke's office. Later that day, Miller, having heard that Dadier plans to quit, promises to remain in school if Dadier will do the same."

"Note: Before the opening credits are given, a rolling written introduction to the film states: "We, in the United States, are fortunate to have a school system that is a tribute to our communities and to our faith in American youth. Today we are concerned with juvenile delinquency--its causes--and its effects. We are especially concerned when this delinquency boils over into our schools. The scenes and incidents depicted here are fictional. However, we believe that public awareness is a first step toward a remedy for any problem. It is in this spirit and with this faith that [H]Blackboard Jungle was produced."
"Evan Hunter's novel was serialized beginning with the Oct 1954 issue of Ladies Home Journal. According to an Apr 1954 NYT news item, M-G-M paid Hunter $95,000 for the rights to his novel. In May 1962, a HR news item reported that writers Murray Burnett and Frederick Stephani accused Hunter of plagiarizing their work, but their suit was dismissed. According to a modern source, director Richard Brooks was originally hired to direct M-G-M's Ben Hur and William Wyler to direct [H]Blackboard Jungle, but Brooks convinced Wyler to switch assignments with him. In his autobiography, Dore Schary, M-G-M's head of production, recalled that he was urged not to make the film by both Paramount executive Y. Frank Freeman and MPPA head Eric Johnston. Schary dismissed their concerns, but soon was asked by Loew's president Nicholas M. Schenk to reconsider. "I had only one argument for Schenk," Schary wrote. "'Nick, you're suggesting I give up on a film that might earn us nine or ten million dollars.' Nick asked me how much it would cost. I had a rough estimate of $1,200,000. He said go ahead." Schary added that the final cost of the film was $1,160,000.
"In a 1983 NYT interview, Brooks recalled that M-G-M wanted one of their contract players, either Mickey Rooney or Robert Taylor, to play schoolteacher "Mr. Dadier." Brooks insisted upon casting new, unknown faces, and as a result, hired unpolished actors with little camera experience for many of the roles, thus infusing a raw realism into their performances. Among the actors making their screen debut in this picture were Vic Morrow, Rafael Campos, Dan Terrnaova, Danny Dennis and Jameel Farah (who later changed his name to Jamie Farr.) Although the studio wanted the film shot in color, Brooks insisted upon black and white because he feared that "color would beautify everything," according to the interview. A 6 Dec 1954 HR news item adds Victor Paul, Loren James, Bill Chaney, Lennie Smith and Mickey Martin to the cast, but their appearance in the final film has not been confirmed.
"Upon its release, the film was greeted by controversy. According to an Apr 1955 DV news item, the school authorities of New Brunswick, NJ, objected to the depiction of school conditions in the film. As a result, the theater circuit was forced to add a disclaimer stating: "To our patrons, the school and situations you have just seen are NOT to be found in this area. We should all be proud of the facilities provided OUR youth by the Public School of New Brunswick..." According to a Mar 1955 HR news item, the film was banned in Memphis, and a Jun 1955 news item in Var reported that the film was banned in Atlanta because it was deemed "immoral, obscene, licentious and will adversely affect the peace, health, morals and good order of the city."
" According to a 21 Mar 1955 HR news item, the Institute for Public Opinion sent postcards to film critics claiming that the film was "anti-public schools" and denying that the conditions depicted onscreen really existed. M-G-M's Schary responded by citing research and news accounts that supported the film's depiction of certain inner-city schools. Claire Boothe Luce, at the time the U.S. Ambassador to Italy, prevented the film's screening at the Venice Film Festival by threatening to walk out if it was shown. Luce claimed that if she attended a performance of the film, she would be "giving ammunition to Italian Communist and anti-U.S. propaganda." Finally, Schary wrote in his autobiography, "Senator Estes Kefauver came to Hollywood to investigate movies--he meant one movie, [H]Blackboard Jungle....He called me as his first witness. He explained that he was in Hollywood to learn whether we acted responsibly when making [this] film." Schary related that after providing Kefauver with volumes of data on juvenile delinquency, he asked the senator what he found objectionable about the film. "He admitted he had not yet seen it," Schary wrote. "I suggested that there seemed to be a lack of responsibility in his investigation."
"The picture's soundtrack also created a stir. According to Brooks's NYT interview, a Boston theater ran the first reel in silence for fear that the rock and roll music on the soundtrack would over-stimulate the audience. "Rock Around the Clock," the song played beneath the film's credits, was one of the top ten songs of the year and played an important part in expanding the rock and roll market. In a modern source, Peter Ford, the son of the film's star, Glenn Ford, noted that Brooks borrowed the record from Peter's collection. The article goes on to say that M-G-M purchased limited rights to the song from Decca Records for $5,000. Under that agreement, the studio was granted the right to use the song only three times in the film. The film was nominated for the following Academy Awards: Best Original Screenplay, Best Film Editing, Best Cinematography (black and white) and Best Art Direction/Set Decoration (black and white). According top a 14 Dec 1954 HR news item, the Producers Theatre was to present a Broadway production based on the Hunter novel, but that production apparently never opened."

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Variety 8 Jun 1955.
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Daily Variety 28 Feb 55, p. 3.
Box Office 5 Mar 1955.
American Cinematographer 1 Jun 55, pp. 334-35, 358-59. Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) Eisenhower administration motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Eisenhower, Dwight D. presidents and new media motion pictures, and Dwight Eisenhower Eisenhower, Dwight D., and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Eisenhower administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy Luce, Clare Booth censorship and ratings motion pictures, and censorship media effects motion pictures, and media effects nationalism and communication motion pictures, and nationalism motion pictures, and foreign policy Blackboard Jungle 3360 Boeing Digital Cinema Surpasses 10,000 Screenings, Demonstrates Live Streaming Capability
Oct. 31, 2002
Nov. 7, 2005 http://www.boeing.com/news/releases/2002/q4/nr_021031t.html See filed under "Digital Cinema -- Hollywood - Military" This news release says that in less than five months, Boeing Digital Cinema, part of the Boeing Company's Boeing Integrated Defense System, has given 10,000 screenings of digital cinema and continues to give 100 per day. Among the movies transmitted by Boeing Digital Cinema were Star Wars Episode II: Attack of the Clones (Fox/Lucasfilm); Spy Kids II (Miramax); Signs (Buena Vista Pictures Distribution); and Banger Sisters (Fox). The article notes that digital delivery could save Hollywood perhaps $1.5 billion per year. R & D corporations corporations Boeing Corporation motion pictures research and development war Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and Boeing nationalism Hollywood, and military military, and Hollywood Hollywood, and digital movies Boeing Digital Cinema digital cinema, Boeing Digital Cinema Boeing Digital Cinema Surpasses 10,000 Screenings, Demonstrates Live Streaming Capability 3420 Boeing Integrated Defense Systems
Jan. 4, 2003
Nov. 7, 2005 http://www.boeing.com/ids/ids-back/index.html See filed under "Digital Cinema-- Hollywood-Military" This website give information about Boeing Integrated Defense Systems (IDS), based in St. Louis, including company officers. Among other activities, IDS is involved in digital cinema R & D corporations corporations Boeing Corporation motion pictures research and development war satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and Boeing nationalism Hollywood, and military military, and Hollywood Hollywood, and digital movies Boeing Digital Cinema digital cinema, Boeing Digital Cinema aeronautics and space communication satellites digital cinema, and Boeing satellites Boeing Integrated Defense Systmes Boeing Integrated Defense Systems 3410 Boeing's Digital Cinema Ready for Viewing
March 6, 2001
Nov. 7, 2005 http://spaceflightnow.com/news/n0103/06cinema See filed under "Digital Cinema -- Hollywood-Military" This Boeing news release, in Spaceflight Now, says that Boeing Digital Cinema is able to give same day delivery of digital media by way of satellite. This service was to be demonstrated at Bally's and Paris hotels in Las Vagas, March 5-8, 2001, at the ShoWest 2001 Convention. Boeing Digital Cinema is a service of Boeing Satellite Systems, Inc. of the Boeing Company. R & D corporations corporations Boeing Corporation motion pictures research and development war satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and Boeing nationalism Hollywood, and military military, and Hollywood Hollywood, and digital movies Boeing Digital Cinema digital cinema, Boeing Digital Cinema aeronautics and space communication satellites digital cinema, and Boeing satellites Boeing's Digital Cinema Ready for Viewing 37850 Book - Talk Nassau Literary Magazine
Dec. 1897
53 5 280-86 This piece offers reviews of several books including Alexander Black's A Capital Courtship (New York: Charles Schribner's Sons, 1897). (285-86) It notes (286) that the work has photographs of Grover Cleveland and William McKinley at their desks in the White House. celebrity celebrity culture photography motion pictures presidents and new media Cleveland, Grover Cleveland, Grover, and photography Cleveland, Grover, and picture plays photography, and Grover Cleveland photography, and presidents photography and visual communication photography, and William McKinley McKinley, William, and photography personality Black, Alexander McKinley, William Book - Talk 14970 Books and Authors New York Times
May 25, 1901
BR 6 This review of Frank M. Chapman’s Bird-Life, A Study of Our Common Birds says: “Wild Life in Color Most people will acknowledge that the so-called color photography has not yet been developed to an excellence which is superior in toning and tint to the best specimens of old-time lithography. And yet color photography has made it possible to present nature books with colored illustrations well within the reach of the reading public; this would have been impossible had lithography been employed….” photography education photography, and education education, and photography color lithography, and color color, and lithography color, and photography photography, and color photography and visual communication color, and books books, periodicals, newspapers lithography Books and Authors 13120 Boons for Posterity New York Times
Nov. 11, 1911
12 Alexander Konta says “light and sound waves never lie” (Konta quoted). Notes that Lincoln’s voice and Napoleon’s actions forever lost. “But posterity in its remembrances of things past may summon back the voices and the prominent figures of this and succeeding generations.” Article goes on to say that “Print, the photographic plate, the phonographic roll, and the kinetoscope have superseded the goose-quilled manuscripts of the fallible copyists of old. But our modern paper is perishable; the new society will do well to return to parchment.” history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonography phonograph, and historical preservation historical preservation, and phonograph Konta, Alexander, and historical preservation historical preservation, and Alexander Konta Modern Historic Records Association paper materials, and paper paper, and historical preservation historical preservation, and paper parchment materials, and parchment Boons for Posterity 29940 The Boston Location Filming of 'The Thomas Crown Affair' American Cinematographer
Oct., 1968
49 10 740-43, 770-71, 786-87, 793-94 In this interview, cinematographer Haskell Wexler discusses how the movie "The Thomas Crown Affair" was filmed on location. He explains the use of zoom lens, hand-held cameras, hidden cameras, cameras operated by remote control, and the use of lighting. Director Norman Jewison wanted the characters to "play chess with sex" and used only two large soft lights to create a "dreamy, sexy mood." (p. 743) For a scene shot inside a sauna devoid of steam, Wexler filmed using a red light which suggested heat. (p. 770) Wexler says that he used a 50mm lens made by Angenieux with a speed of F/.95, the "fastest lens I've ever seen." (p. 786) lenses, zoom sex motion pictures, and sexuality sexuality Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories cinematography motion pictures cameras lighting sexuality special effects motion pictures, and lighting lighting, and motion pictures motion pictures, and special effects sexuality, and motion pictures motion pictures, and sexuality lighting, and sex scenes location shooting motion pictures, and location shooting movie, Thomas Crown Affair Thomas Crown Affair cameras, hidden zoom lenses cameras, and zoom lenses cameras, hand-held Wexler, Haskell oral histories lighting, and sex scenes sex scenes, and lighting Jewison, Norman cameras, and fast lens lenses The Boston Location Filming of 'The Thomas Crown Affair' 14690 Boy Admiring Movie Posters Hit by Truck Chicago Daily Tribune
Feb. 26, 1917
13 Children attracted to movie posters -- and one of the dangers. children censorship photography advertising and public relations motion pictures advertising advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures violence motion pictures, and violence violence, and motion pictures violence, and advertising advertising, and violence posters, and motion pictures motion pictures, and posters censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and movie posters children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children theaters motion pictures, and theaters theaters, and motion pictures theaters, and movie advertising theaters, and posters posters, and theaters advertising, and movie theaters posters Boy Admiring Movie Posters Hit by Truck 15630 [Breen, Joseph] Variety
Dec. 15, 1965
13 See also the story related to Breen's obituary in Variety, Dec. 8, 1965, p. 3. self-regulation Production Code Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories censorship and ratings Production Code (motion pictures) values religion Breen, Joseph motion pictures and popular culture motion pictures motion pictures, and Production Code (motion pictures) Breen, Joseph, and Production Code (motion pictures) Production Code, and Joseph Breen Breen, Joseph, and biography Breen, Joseph, and obituary biography [Breen, Joseph] 15290 [Breen, Joseph Obituary] New York Times
Dec. 8, 1965
47 This obituary deals with the man who was perhaps the most powerful film censor in the United States from 1934 to 1954. self-regulation Production Code values religion censorship and ratings Production Code (motion pictures) Production Code (motion pictures) motion pictures Breen, Joseph motion pictures and popular culture motion pictures motion pictures, and Production Code (motion pictures) Breen, Joseph, and Production Code (motion pictures) Production Code, and Joseph Breen Breen, Joseph, and biography Breen, Joseph, and obituary [Breen, Joseph Obituary] 31760 Brigitte Conquers America Look
Jan. 7, 1958
22 62-64ff One of several articles in mainstream U. S. magazines publicizing Brigitte Bardot after her movie And God Created Woman. magazines Bardot, Brigitte magazines, and sexuality sexuality women women, and magazines magazines, and sexuality motion pictures motion pictures, and Brigitte Bardot Brigitte Conquers America 27750 British Board of Film Classification Nov. 7, 2005 http://www.bbfc.co.uk See also: violence; sexuality The British Board of Film Classification is the agency responsible for rating (and previously censoring) motion pictures in Great Britian. classification CARA magnetic recording censorship and ratings rating systems (non-USA) rating systems (non-USA) motion pictures media effects videotape magnetic tape law censorship and rating system (GB) rating system (GB) censorship classification censorship non-USA motion pictures and popular culture Great Britain British Board of Film Classification rating systems, and Great Britain Great Britain, and rating systems censorship, and Great Britain Great Britain, and censorship rating systems, and harmful effects media effects, and Great Britain videos, and Great Britain Great Britain, and videos rating systems, and videos (GB) videos, and British rating system British Board of Film Classification 35370 British Movie on Homosexuality Denied Seal of Approval Here New York Times
Nov. 16, 1961
45 This British-made movie dealt with homosexuality and was denied a Production Code Administration seal of approaval in the US. "Independently produced overseas by Allied Filmmakers and starring Dirk Bogarde, the movie is a dramatized condemnation, based on the Wolfenden Report, of Britain's laws on homosexuality," this article reports. The film gained acclaim abroad and Pathe-America Distributing Company picked it up to exhibit in the United States. Budd Rogers who was head of the company said the movie would play in the U. S. with or without the PCA seal, and indeed, it opened in New York on Feb.. 5, 1962. censorship self-regulation motion pictures, and sexuality sexuality foreign films, and sexuality , news motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality motion pictures, and foreign films foreign films foreign films, and homosexuality non-USA Great Britain Great Britain, and motion pictures motion pictures, and Great Britain British Movie on Homosexuality Denied Seal of Approval Here 39130 Broadway to Have a New 'Theater of Color' Current Opinion
Nov. 1921
71 5 612-13 This article discusses the plans of Achille Ricciardi who plan to begin a "theater of color." (612) "He proposes a transformation of the static scenic settings by the plastic use of illumination in providing a vivid and living background to emphasize the content of plays already written and suited to such interpretation. In realizing his effects, Ricciardi has developed several interesting devices. He projects his light on the stage from the sides, from above and also from concealed sources in the floor, whereby a figure walking above is suddenly and unexpectedly cast into strong illumination. Most of his side-lights, explains Oliver M. Sayler, in the Boston Transcript, are passed through water contained in glass boxes and chemically colored. The effect of ... rippling light is also obtained through this device." (612)
The article provides a lengthy excerpt from Ricciardi talking about the Theater of Color: "'The appearance and developments of colors constitute the essence of my theater. Among our predecessors color belonged to the technic of the stage rather than that of the 612/613 drama.... We aim to make of the stage not a cornice, but a part of the drama, its visible element, not merely its exterior. We should remember that the stage has a dual structure; architectural, which limits the space of the action, and spiritual, which fuses the psychological motives with the surroundings. Moving color modifies forms without disfiguring them. In an atmosphere of successive colors the emotional intensity of the drama reaches it proper pitch without alteration of the phonetic value or the style of the dialog, as in opera.... In considering color as psychological background, we must remember that music gives the sensation of tempo and painting the impression of space, and that the only element which can arouse the sensations of tempo and space at the same time is the magic element of color freed from form. In answer to the objection that the same color will not suggest the same emotional reactions to different people, I replay that we are all children as regards our color sensibilities, which are simple and primitive and therefore more likely to be similar than different. Red is cheerful and white is pure; these conceptions are found in all languages and prove the universal intellectual nature of the sense of color. I believe that a deep blue with a sickle of green will give the impression of a landscape more successfully than painted cardboard and bad white lead.'" (613)
The author of this article discusses specific colors. "A taste for red is almost always associated with passion and the sensual pleasures of life," it says. (613) theater theater religion religion, and color magic emotion decadence censorship censorship censorship color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations theater and stage color, and theater theater, and color Ricciardi, Achille, and color color, and Achille Ricciardi Italy non-USA Italy, and color in theater non-USA, and color in theater lighting lighting, and theater theater, and lighting censorship and ratings color, and censorship censorship, and color magic, and color color, and magic color, and music media effects color, media effects media effects, and color Broadway to Have a New 'Theater of Color' 1210 Bull Fight Is Held at the Stock-Yards for Moving Pictures Chicago Daily Tribune
Nov. 22, 1898
1 The subtitle of this article reads: "Matador Is of Straw, but the Steer Is Alive, and Having Been Goaded to Frenzy Nearly Kills a Cowboy Who Falls Into the Arena." sensationalism motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras special effects, and motion pictures special effects motion pictures, and special effects violence violence, and motion pictures motion pictures, and violence Bull Fight Is Held at the Stock-Yards for Moving Pictures 13300 Burton Holmes’ Third Talk. Gives His Illustrated Lecture on ‘The Cities of the Barbary Coast’ Football Pictures Chicago Daily Tribune
Nov. 27, 1897
8 This article notes that “Among the moving pictures the football scrimmages on the University of Chicago campus in the Thanksgiving game aroused the greatest interest, with the polo and golf scenes a close second.” sensationalism motion pictures, and sports motion pictures motion pictures, and football motion pictures, and violence violence, and motion pictures violence theaters motion pictures, and theaters theaters, and motion pictures motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras Burton Holmes’ Third Talk. Gives His Illustrated Lecture on ‘The Cities of the Barbary Coast’ Football Pictures 24220 Bush Lashes Hollywood's Lax Attitude Toward Drugs Toronto Star
March 23, 1989
This article deals with President George H. W. Bush's attack on Hollywood's depiction of substance abuse. Motion Picture Association of America (MPAA) MPAA Bush, George H. W. Valenti, Jack presidents, and new media Bush, George H. W. administration values Hollywood Bush, George H. W. Hollywood, and substance abuse Bush administration (1989), and substance abuse Bennett, William, and Hollywood Valenti, Jack, and war on drugs Valenti, Jack, and George Bush (1989) values, and motion pictures values motion pictures Bush Lashes Hollywood's Lax Attitude Toward Drugs 14360 Busse Sees Levee; Changes Ordered; Mayor Visits ‘Red Light’ District, and Many Blows to Vice Follow; Takes Slash at Stage Chicago Daily Tribune
June 2, 1907
2 This article reports that Chicago Mayor Busse appalled by billboard for “James Boys in Missouri,” to be shown at the Alhambra theater. “A smoking revolver was held in the hand of a villain who was standing over his victim.”
“‘I wonder how that is for the morals of the general public,’ said Mayor Busse. ‘I believe this would bear some investigation.’”
He also did not like a handbill for “The Moonshiner’s Daughter.” “It was filled with pictures of blood curdling adventures…. The hero was seen in a big jug of ‘moonshine’ whisky, while another bottle protruded from the ‘here’s vest pocket. There were more pictures of the kind that make school boys thirst for toy pistols and worse. ‘Don’t fail to see the great fight in the whisky still,’ was a ‘tip’ found on the bottom of the poster.”
“Electrical signs also were found to be objectionable, although many have been removed by order of Capt. McCann. No more permits will be issued for electric signs of any sort in the district.
Subtitles to the article reads: "Believes Lurid Melodrama at Theaters Will Bear Investigation." electric lighting children Chicago, IL censorship actors acting actors acting motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity motion pictures, and Chicago Chicago, and motion pictures actors, and status of censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings violence violence, and motion pictures motion pictures, and violence motion pictures, and crime children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children James Boys in Missouri (1908) motion pictures, and alcohol censorship, and alcohol motion pictures, and electric signs electric signs, and motion pictures advertising Busse Sees Levee; Changes Ordered; Mayor Visits ‘Red Light’ District, and Many Blows to Vice Follow; Takes Slash at Stage 38020 By the Way Outlook
July 19, 1913
104 12 641-42 This article comments on several topics including the use of Civil War photographs by newspapers. "The reprinting in the newspapers of pictures of the battle of Gettysburg published fifty years ago in the illustrated weeklies of that time brings home the fact that photography has to a certain extent changed the character of war illustration. Greater fidelity to fact is seen in present-day illustration of military matters. The chaos of fighting men, fancifully pictured by the military artists of the past, is not acceptable to readers nowadays, educated as they are by the camera." (641) photography and visual communication photography modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel history and new media history, and photography photography, and history news and journalism newspapers, and photography photography, and newspapers newspapers, and history history, and newspapers photography, and Civil War Civil War, and photography war war, and photography photography, and war military communication military communication, and photography photography, and military communication history By the Way 16070 California Color Films Los Angeles Times
Feb. 16, 1912
II 8 This article's subtitle says: "Kinemacolor Company’s New Process Here First. Takes Pictures at the Rate of Seventy to Second. Propose to Display Local Scenery All Over the World." Los Angeles motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures color color, and motion pictures motion pictures, and color Kinemacolor motion pictures, and Kinemacolor color, and Kinemacolor cameras, and speed of motion pictures, and number of photographs cameras California Color Films 39490 Camera Drama vs. Spoken: The Latest War in the American Theater Current Opinion
Dec. 1915
59 6 405 This article begins by quoting William A. Brady who said that "if pictures go on as they have been going on in the last ten years, it will mean the death of the spoken drama." It then discusses an editorial response to Brady's ideas in the New York Evening Post. "The American drama has always been a drama of action, as opposed to words," the Current Opinion article says. The decline of serious drama has been caused by commercial writing. "Dream of huge profits, efforts to please every diverse type of audience from coast to coast, writing for the millions, our playwrights, as this authority points out, have been compelled to go very thin on character, ideas, dialog, to concentrate on action, and action reduced to its elementary terms. These influences are the true ones leading to the death of the spoken drama, the drama of ideas as well as action. This is the effect of Big Business in the American theater." The article quotes from the Post editorial to the effect that the movie and serious drama do not have to be in conflict. "'By satisfying the elementary appetite for "action," it [the movie] may yet drive pistol-waving from the theater and leave the stage clear for a real spoken drama. People will go to the movies for one thing and to the theater for another. And the dramatist who is relieved from the demand for something doing every minute may give us plays that are spoken in a more real sense than the "spoken" drama of crooks and detectives.'" theater stage words vs. images theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form motion pictures, and William Brady Brady, William, and motion pictures critics critics, and motion pictures motion pictures, and death of spoken drama motion pictures Camera Drama vs. Spoken: The Latest War in the American Theater 1200 Camera Men Dare Death in Arena with Lions Los Angeles Times
Aug. 31, 1913
III 1 The subtitle reads: "Big Scene in ‘Quo Vadis’ in Which Christians Are Devoured, Required Nerve and Quickness in the Making Actors Trained but Had to Take Big Chances." sensationalism motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras special effects, and motion pictures special effects motion pictures, and special effects religion religion, and motion pictures motion pictures, and religion violence violence, and motion pictures motion pictures, and violence Camera Men Dare Death in Arena with Lions 15600 Camera's Inroads in Field of Illustrating New York Times
Nov. 3, 1901
SM 12 This interesting article notes that the camera has replaced the illustrator in weekly papers and also in the illustrated daily newspapers and in cheap magazines. The cost of producing an illustrated paper has dropped significantly during the past five or six years. The cost of using photographs is about one-fifth as much as using traditional illustrations supplied by artists. The article compares the news coverage of William McKinley's assassination in 1901 with that given to Abraham Lincoln's assassination in 1865, and how differently pictures were obtained during in 1865 and in 1901. In Lincoln's time, artists were sent to sketch the scene and wood engraving were used. It took one to two days to engrave a drawing on wood, and perhaps four days before the image was ready to publish. At the time of McKinley's assassination, newspapers had many photographs (many stock photos, to be sure) to choose from. Newspapers had photographs even of obscure places on file and they were readily available. It cost Collier's about one-tenth as much to put out an extra edition after McKinley's death as it did Harper's to produce an extra issue after Lincoln's assassination. The article notes that even five or six years before McKinley's death, an extra required sending out several artists. By 1901, photos could be gotten from Buffalo to NYC in about 14 hours. This article also discusses the use of photographs in cheap magazines and that illustrations are still used in fiction. wood engraving journalism journalism fame celebrity actors acting magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving presidents and new media McKinley, William McKinley, William, and photography McKinley, William, and new media McKinley, William, and assassination Lincoln, Abraham Lincoln, Abraham, and assassination Lincoln, Abraham, and newspaper illustrations Lincoln, Abraham, and new media Camera's Inroads in Field of Illustrating 14760 The Campaign to Curb the Moving Picture Evil in New York New York Times
July 2, 1911
SM 15 The article reports on New York City mayor's committee on safeguarding the public at motion picture entertainment; it wanted movies to be “clean, safe, and healthful, and moral.” The subtitle to the article reads: "Organized Efforts to Censor Exhibitions Which Under Existing Conditions Are Harmful." reform citizenship children censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children violence violence, and motion pictures motion pictures, and violence motion pictures, and crime audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and reformers reformers, and motion pictures critics critics, and reformers reformers, and critics law motion pictures, and education education, and motion pictures motion pictures, and citizenship citizenship, and motion pictures women women, and censorship women, and motion pictures motion pictures, and women censorship, and women New York, and motion pictures motion pictures, and New York education The Campaign to Curb the Moving Picture Evil in New York 37530 Can the Camera Immortalize the Melancholy Mask of Eleonora Duse? Current Opinion
July 1917
1 27 This article is about Italian actress Eleonara Duse, who critics in Europe felt surpassed Sarah Bernhardt in subtlety. She retired at the peak of her success which make her a "semi-mythical figure," according to this article. She is now considering returning in the movies because, according to an excerpt quoted here from the Boston Transcript, she believed "that from this mute stage, which has in its favor the rare and enviable element of the approbation of the most numerous and humble portion of the world's population, in the dark and crowded halls, new expression of esthetic beauty and moral beauty may manifest themselves...." Later, this article quotes Matilde Serao, who wrote of Duse: "'Her unforgettable eyes have ever that internal depth of poignant melancholy which she made as penetrating as a subtle sound.'" theater stage fame fame celebrity actors acting celebrity culture fame personality motion pictures, and new art form motion pictures, and psychology theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and celebrity celebrity, and motion pictures fame, and motion pictures motion pictures, and fame motion pictures, and stars audiences media effects motion pictures, and audiences audiences, and motion pictures media effects, and audiences media effects, and motion pictures motion pictures, and media effects sexuality motion pictures, and sexuality sexuality, and motion pictures violence motion pictures, and violence violence, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and acting acting, and facial expression motion pictures, and not facing camera acting, and not facing camera acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting women women, and beauty women, and cameras women, and acting acting, and women motion pictures Can the Camera Immortalize the Melancholy Mask of Eleonora Duse? 39230 Can the Making of Motion Pictures Ever Be a Fine Art? Current Opinion
Oct. 1917
63 4 251 This article begins by saying that "It appears that the public has been deceived, or at least misled, by such savants as Hugo Münsterberg and Vachel Lindsay into believing that there are fundamental elements of art in the photodrama and that it is destined to take rank eventually as an eighth art in the cultural world. As a matter of fact, we read with a degree of surprise, the movies have no concern with art at all. There sole concern is with life, and the trouble is that the public has been taught to expect more of them than they have been or ever will be able to deliver. Such, at least, is the interesting assertion made by one motion-picture magnate who has no illusions about the industry and who has been making a confidant of William Marion Reedy." This person was recently quoted in the St. Louis Mirror and a excerpt from his interview is reprinted in this article. This person emphasized movies' education value in teaching geography and other subjects in the schools. Münsterberg, Hugo Munsterberg, Hugo Lindsay, Vachel censorship censorship motion pictures motion pictures, and new art form motion pictures, and psychology Münsterberg, Hugo motion pictures, and Hugo Münsterberg critics critics, and motion pictures censorship and ratings censorship, and crime Münsterberg, Hugo, and censorship motion pictures, and morality motion pictures, and censorship censorship, and motion pictures media effects media effects, and motion pictures motion pictures, and media effects media effects, and Hugo Münsterberg Münsterberg, Hugo, and media effects Lindsay, Vachel, and motion pictures motion pictures, and Vachel Lindsay education education, and motion pictures motion pictures, and education Can the Making of Motion Pictures Ever Be a Fine Art? 27760 Canadian Rating and Classification Systems: Film Classification in Canada Nov. 7, 2005 http://www.media-awareness.ca/english/resources/ratings_classification_systems/film_classification/canada_film_classification.cfm See also: violence; sexuality The Canadian Rating and Classification System is the primary agency rating motion pictures, television programs, video grames, and other entertainment in Canada. computers classification video cassette recorders (VCRs) self-regulation CARA magnetic recording censorship and ratings rating systems (non-USA) motion pictures media effects satellites videotape video games magnetic tape computers law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship non-USA Canada motion pictures television rating systems, and Canada Canada, and rating systems censorship, and Canada Canada, and censorship rating systems, and harmful effects media effects, and Canada videos, and Canada Canada, and videos rating systems, and videos (Canada) videos, and Canadian rating system video games, and Canadian rating system rating systems, and video games computers and the Internet computers, and Canadian rating system television, and Canadian rating system cable, and Canada cable, and Canadian rating system satellites, and Canadian rating system motion pictures, and rating systems (Canada) Canada, and motion pictures Canada, and television Canada, and video games Canada, and computer rating system cable VCRs Canadian Rating and Classification Systems: Film Classification in Canada 36000 Capitalism's Pin-Up Boy: Eric Allen Johnston New York Times
Feb. 26, 1958
8 This article, written about the time Eric Johnston organized a bi-partisan conference for President Eisenhower to support U.S. foreign aid, gives biographical details of the MPAA president's life. It begins by call Johnston "the personality boy of United States capitalism." It then quotes Johnston saying: "We are too mealy-mouthed. We fear the word capitalism is unpopular. So we talk about the 'free enterprise system' and run to cover in the folds of the flag and talk about the American way of life.'" The article says that Johnston preferred not to use his middle name or initial (Allen). Motion Picture Association of America (MPAA) self-regulation Eisenhower administration community , news motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code democracy democracy, and capitalism capitalism, and democracy Eisenhower, Dwight D. democracy capitalism Cold War freedom MPAA Production Code Production Code (motion pictures) values war advertising and public relations Capitalism's Pin-Up Boy: Eric Allen Johnston 35610 Carmen Jones (aka Oscar Hammerstein's Carmen Jones) Otto Preminger 20th-Fox Film Corp.
1955
This movie played a role in the relaxation of the Production Code on profanity (e.g., using such words as "damn" and "hell").
Plot Summary from American Film Institute Catalog: "Cindy Lou travels to a wartime parachute manufacturing plant to say goodbye to her sweetheart Joe. Scheduled to depart for military flying school the next day, Joe is overjoyed to see Cindy Lou and suggests they use his twenty-four-hour pass to get married. Cindy Lou accepts his proposal, even though her concern is aroused when [H]Carmen Jones, a lively and beautiful factory worker who is desired by practically every man at the plant, asks Joe to pick her up that night for a private farewell party. When Carmen fights with another worker for reporting her late arrival to the foreman, Sgt. Brown, whose attentions Carmen has spurned, cancels Joe's leave and orders him to deliver her to the authorities in Masonville. As Cindy Lou watches Joe and Carmen drive away, Sgt. Brown announces that Joe volunteered for the assignment. Riding in the jeep, Carmen suggests that she and Joe stop off for a meal and a little romance. Joe pushes her away, but this only intensifies her attraction to him. Anxious to return to Cindy Lou, Joe opts to take a shorter but more treacherous road to Masonville. The jeep ends up in the river, and Carmen, highly amused, suggests that they catch the Masonville train when it passes through her home town that evening. In her grandmother's house, Carmen gives Joe a peach and begins to brush the mud off his pants. Finally submitting to her charms, Joe kisses her passionately. The next morning, as he dons his shirt, Joe finds Carmen's farewell note, in which she explains that, although she loves him, she cannot tolerate being locked up in jail. Joe is put in the stockade for allowing his prisoner to escape, and Cindy Lou visits him just as a package from Carmen arrives. When Cindy Lou sees a rose inside, she leaves without a word. For weeks, Joe carries the rose with him, dreaming of Carmen as he works in the hot sun. Meanwhile, Carmen, having found work in a Louisiana night spot, waits impatiently for Joe's release. The club stirs with excitement as Husky Miller, a winning prizefighter, arrives with his entourage in an expensive car. Husky sings for the admiring crowd and then introduces himself to Carmen, who rebuffs him. Flustered, Husky orders his manager Rum to persuade Carmen to accompany him to Chicago. Rum and his cohort Dink, promising her diamonds, furs and an expensive hotel suite in exchange for her company, hand Carmen, along with her friends, Frankie and Myrt, train tickets to Chicago. Carmen is tempted but finally decides to remain at the club and wait for Joe's release. Just then, Joe arrives. Overjoyed, Carmen kisses and embraces him, but when he announces that he must depart immediately for flying school, she becomes enraged. Sgt. Brown appears, insults Joe, and starts to leave with Carmen, whereupon Joe gives him a severe beating. Realizing he will go to prison for striking a superior officer, Joe flees with Carmen to Chicago. Because the military police are after him for desertion, Joe remains hidden in a shabby, rented room, while Carmen secretly visits Husky's gym in the hope of obtaining a loan from Frankie. Dressed in satin and diamonds, Frankie claims she has no money of her own, but her efforts to persuade Carmen to leave Joe are fruitless. Carmen, still penniless, arrives at the boardinghouse with a full bag of groceries, leading Joe to wonder aloud how she could have obtained the necessary cash. Following their argument, Carmen visits Husky's hotel suite, where she joins her friends at cards. Drawing the nine of spades, Carmen assumes the card is an omen of impending death and abandons herself to a few final days of drinking and debauchery. Cindy Lou, still in love with Joe, reads about Husky's new girl friend in the newspaper and arrives at Husky's gym just before Joe appears. Brushing Cindy Lou aside, Joe orders Carmen to leave with him, and when she refuses, he threatens Husky with a knife. Carmen helps Joe to escape the military police, but later, during Husky's big fight, Joe finds Carmen in the crowd and pulls her into a storage room. Joe begs Carmen to return to him, but she maintains that their affair is over. Completely broken down, Joe strangles Carmen to death just before the police arrive."

"Note: The film's opening title card reads: "Oscar Hammerstein's [H]Carmen Jones." On 26 Jun 1952, HR announced that theatrical producer Billy Rose had acquired the screen rights to Hammerstein's work and intended to make the film with an all-black cast. The news items also stated that Rose intended to "handle his own financing and release, with the premiere engagement of the film to take place at the Ziegfeld Theatre, where he will make his headquarters." According to a 9 Jul 1952 HR news item, Rose signed Elia Kazan to direct the picture. Rose apparently abandoned his plans and sold the rights, as a 23 Dec 1953 HR news item announced that Otto Preminger and Twentieth Century-Fox would be filming the project.
"Although an 11 Mar 1954 HR news item stated that Hammerstein would be collaborating on the film's screenplay with an as-yet unnamed writer, only Harry Kleiner is credited onscreen as the screenwriter. According to Preminger's autobiography, he and Kleiner, who had been Preminger's student at Yale University, decided not to use the text of Hammerstein's musical, or the libretto of Bizet's opera as a basis for the script, but to go back to Prosper Mérimée's short story, while retaining Bizet's music and Hammerstein's lyrics. Preminger states that he first took the project to friends at United Artists, but they turned him down because they felt they could not risk backing an all-black film.
"According to the Twentieth Century-Fox Records of the Legal Department at the UCLA Arts--Special Collections Library, Fox entered into a distribution deal with Preminger's Carlyle Productions in which Fox agreed to advance the film's negative costs, up to $825,000. Fox production head Darryl F. Zanuck was to have final script and cut approval. Legal records also state that Hammerstein, at the behest of Zanuck, submitted the script to Walter White, the executive secretary of the N.A.A.C.P., for comment. White praised the screenplay, but added that he was opposed to an "all-Negro" show in principle, because of his organization's ongoing fight for integration. Although a 23 Dec 1953 DV news item stated that Preminger planned to shoot the film in Hollywood, Chicago and South Carolina, studio records indicate that the picture was shot entirely on the RKO lot.
"According to legal records, Katherine Hilgenberg was originally hired as the singing voice of "Carmen." Marilyn Horne, whose first name was misspelled in the onscreen credits, sang the part, however. Brock Peters, whose surname was misspelled "Broc" in the oncredits, was first considered for the role of "Husky Miller," according to legal records.
"On 29 May 1953 HR noted that Dorothy Dandridge, Joyce Bryant and Elizabeth Foster were being considered for the title role. According to a 24 Oct 1954 NYT article, Preminger was reluctant to cast Dandridge because she seemed "too sweet, too regal." Dandridge convinced Preminger to hire her by dressing in flashy clothing and visiting the director, arguing, "Look, I know I can do it. I understand this type of woman. She's primitive, honest, independent, and real--that's why other women envy her." In the same article, Harry Belafonte, when asked if [H]Carmen Jones would lead to a greater utilization of black talent in films, replied, "Not really...but I think it will provide some help symbolically. It proves there's no corner of human drama that Negroes cannot play. However, I don't think Hollywood, as a whole, is geared to pioneering of this sort."
"HR production charts and news items include the following actors and dancers in the cast, althought their appearance in the final picture has not been confirmed: Mme. Sul-te-Wan, Archie Savage, Carmen De Lavallade, June Eckstine, Max Roach, Sam McDaniels, Don Derricks, James Green, Don Blackman, Lonny Malone, Reuben Wilson, Jane Hanibal, Ramona Bruce, Vera Frances, Madie Comfort, Lawrence La Marr, Charles Fleming, Ruby Berkeley Goodwin, James Craig, Otis Greene, Orchid Oliver, Michael Wallace, Donna Rae Brown, Pat Taylor, Christyne Lawson, Ercelle Anderson, Gloria Jones, Pat Sides, Pola Dukes, James Truitte, Alvin Ailey, Clyde Webb, Archie Allison, Graham Johnson, Daniel Lloyd and Charles Carter. Modern sources credit John De Cuir as co-art director and Dimitri Tiomkin as co-music director.
"A 1 Dec 1957 NYT article commented that the film titles designed by Saul Bass, which featured a sinuous animated flame flickering around a rose, introduced design, color and animation to the display of film credits. According to HR news items, Bass was awarded a special citation from the Los Angeles Art Directors Club and a gold medal from the New York Art Directors Guild for his work on [H]Carmen Jones. Dandridge received an Academy Award nomination as Best Actress and was also nominated by BAFTA for Best Foreign Actress. Herschel Burke Gilbert was nominated for an Academy Award for Best Music, Scoring of a Musical Picture, and the film won a Golden Globe for Best Motion Picture-Musical/Comedy. In 1992, [H]Carmen Jones was selected for the National Film Registry at the Library of Congress.
"According to HR news items, the film at first had problems being exhibited in Europe because Preminger had not cleared the European rights to Bizet's music before production on the picture began. On 15 Nov 1954, HR noted that the rights to Bizet's score were in the public domain in the United States but were still privately owned in Europe. When Preminger received an invitation to screen the picture at the 1955 Cannes Film Festival, he planned to show it aboard an American aircraft carrier, which would constitute "extra-territorial grounds" so that he would not be "breaching technicalities" prohibiting showings on the Continent, according to a 20 Apr 1955 HR news item. By 26 Apr 1955, however, a special, out-of-competition screening was arranged so that it could be held on the main festival grounds.
"Many films have been based on or inspired by the story and opera of Carmen, including two 1913 three-reel versions, one with Marion Leonard made by the Monopol Film Co., the other with Marguerite Snow, made by the Thanhouser Corp.; two 1915 versions, a Fox Film Corp. production, directed by Raoul Walsh and starring Theda Bara, and a Jesse L. Lasky production, directed by Cecil B. DeMille and starring Geraldine Farrar (see AFI Catalog of Feature Films, 1911-20); Gypsy Blood, directed in 1918 by Ernst Lubitsch and starring Pola Negri; Loves of Carmen, produced by Fox Film Corp. in 1927, directed by Raoul Walsh and starring Dolores del Rio (see AFI Catalog of Feature Films, 1921-30); the 1948 Columbia film The Loves of Carmen, directed by Charles Vidor and starring Rita Hayworth (see AFI Catalog of Feature Films, 1941-50); a 1983 film produced in Spain entitled Carmen, directed by Carlos Saura; a 1983 France/Switzerland production entitled Prenom Carmen, directed by Jean-Luc Godard; Bizet's Carmen, a 1984 France/Italy production, directed by Francesco Rosi; and a 2001 MTV television production entitled MTV's Hip Hopera: Carmen, starring Mekhi Phifer and Beyoncé Knowles and directed by Robert Townsend."
Source citations:

Variety 6 Oct 54, p. 6.
New York Times 29 Oct 54, p. 27.
New York Times 1 Decorations 1957.
New York Times 24 Oct 1954.
Harrison's Reports 9 Oct 54, p. 163.
Motion Picture Herald Product Digest 16 Oct 54, p. 179.
Hollywood Reporter 28 Sep 54, p. 3.
Hollywood Reporter 16 Jul 54, p. 11.
Hollywood Reporter 22 Jul 54, p. 9.
Film Daily 5 Oct 54, p. 10.
The Exhibitor 20 Oct 54, p. 3856.
Daily Variety 28 Sep 54, p. 3.
American Cinematographer 1 Decorations 54, pp. 610-11, 625-29.
Daily Variety 23 Decorations 1953.
Box Office 16 Oct 1954.
Hollywood Reporter 1 Oct 1954, p. 3.
Hollywood Reporter 26 Jun 1952, p. 2.
Hollywood Reporter 9 Jul 1952, p. 1.
Hollywood Reporter 23 Decorations 1953, p. 1.
Hollywood Reporter 11 Mar 1954, p. 2.
Hollywood Reporter 29 May 1954, p. 2.
Hollywood Reporter 9 Jun 1954, p. 2.
Hollywood Reporter 11 Jun 1954, p. 4.
Hollywood Reporter 18 Jun 1954, pp. 3-4.
Hollywood Reporter 22 Jun 1954, p. 6.
Hollywood Reporter 30 Jun 1954, p. 6.
Hollywood Reporter 1 Jul 1954, p. 9.
Hollywood Reporter 2 Jul 1954, p. 6.
Hollywood Reporter 7 Jul 1954, p. 8.
Hollywood Reporter 8 Jul 1954, p. 16.
Hollywood Reporter 9 Jul 1954, p. 4.
Hollywood Reporter 14 Jul 1954, p. 6.
Hollywood Reporter 15 Jul 1954, p. 18.
Hollywood Reporter 21 Jul 1954, p. 11.
Hollywood Reporter 23 Jul 1954, p. 9.
Hollywood Reporter 10 Sep 1954, p. 6.
Los Angeles Times 2 Nov 1954.
Los Angeles Daily News 2 Nov 1954.
Newsweek 25 Oct 1954.
Time 1 Nov 1954, p. 98.
Motion Picture Daily 29 Sep 1954, p. 1, 11
New Yorker 6 Nov 1954.
Hollywood Reporter 30 Sep 1954, p. 3.
Hollywood Reporter 27 Oct 1954, p. 9.
Hollywood Reporter 15 Nov 1954, p. 3.
Hollywood Reporter 3 Feb 1955, p. 1.
Hollywood Reporter 25 Feb 1955, p. 4
Hollywood Reporter 20 Apr 1955, p. 4.
Hollywood Reporter 26 Apr 1955, p. 2.
Hollywood Reporter 27 Apr 1955, p. 3. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Preminger, Otto Production Code, and Otto Preminger motion pictures, and African Americans Carmen Jones (aka Oscar Hammerstein's Carmen Jones) 17240 Cavalier
1950s, 1960s
This publication was among the male-oriented magazines that featured nude and semi-nude pictures of women during the 1950s and 1960s. These magazines often took advantages of recent developments in camera technology such as color photography. magazines sexuality pornography obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity 30210 CBS Introduces Its Electronic Video Recording System American Cinematographer
April, 1969
50 4 398-99, 421 This article comments on a "new method of playing back any existing movie or videotape material through a standard TV receiver." The process, demonstrated a month earlier, was CBS's Electronic Video Recording system (EVR), and it promised "many important applications" and it promised "to create almost as great a film boom in certain areas as the Super-8 format." (398) The article says CBS was "preparing to convert titles in their film libraries to EVR cartridge format" (421) and that one company CBS owned, Baily Films and Film Associates, had 450 separate movie titles. This development was expected to have "a powerful impact on education, business, entertainment, the arts, and information processing industries. Its applications are almost numberless." (421)
EVR did not record images from television sets, "but only plays back pictures previously produced on standard film or videotape and then transferred to an EVR cartridge." (398) corporations corporations cinematography television videotape CBS, and video recording Electronic Video Recording System (CBS) education education, and video recording television, and video recording VCRs, and origins video cassettes, origins magnetic recording video recording, and education 16mm film 8mm films 16mm film, and video recording 8mm films, and video recording 16mm film libraries Super-8 8mm, and Super-8 CBS motion pictures electronic media cameras video cassette recorders (VCRs) magnetic tape 16mm 8mm VCRs CBS Introduces Its Electronic Video Recording System 37740 Celebrities Made While You Wait Chicago Daily Tribune
Nov. 22, 1903
34 This article notes that the key to achieving celebrity status is having your photograph taken. "It costs no more to become a 'well known society woman,' a 'rising young lawyer,' a 'prominent author,' or a 'successful physician' than it does to have three dozen photographs taken. Indeed, the taking of the photographs and the making of the celebrity are parts of the one and same transaction.... (my emphasis)
"Pick up any of those magazines which make a feature of a photographic department. In these pages you will find pictures of celebrities you have not met till now. You will wonder how they have escaped you. But there is their picture, with the line which certifies the original of the picture to be a 'prominent,' or a 'rising,' or a 'well known,' or a 'successful' this, that, or the other.
"Take those periodicals that are devoted to specialties - to the law, to sports, to medicine, to engineering. There again you will find the same pictures of the same persons....
"In many cases you happen to know that the originals of these pictures really have done some notable thing. They have done something for which they should be honored. You do not wonder that their pictures appear in the public prints. But as for the others -- those celebrities who, as it were, have sprung up like the mushroom between the setting of the sun and rising of the same -- of those celebrities you are skeptical.
"You need be uncertain no longer. For herein is revealed the secret spring from which many of our heroes and heroines come.
"The first step to be taken by one who would shine in the fierce white light of publicity is to have pictures taken. If the applicant for the sittings is a well known actor or actress or a politician of great prominence these pictures will not cost a cent.
"Most photographers are glad of the advertisement they get from the connection of their name with that of their distinguished subject. But these people who can get photographs for nothing are not the people who need the advertising."
The subhead then reads: "Seeks Fame's Advance Agent."
"He who would like to see his picture in public print together with a written notice in which his merits are alluded to hies [sic] himself either in Chicago or in New York to the professional celebrity maker....
"Three dozen photographs are at once taken. There was a time when the camera told the truth, but that was many, many years ago. Now the most commonplace face in the world can when it is looked upon by the magic lens, transform itself into a thing of beauty, which will be a joy as long as the photograph lasts. The pictures are taken...." press agents photography journalism heroes fame fame celebrity critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater photography, and celebrity culture actors acting magazines, and photography actors acting celebrity culture cameras, and celebrity celebrity, and cameras fame, and cameras cameras, and fame metaphors metaphors, and mushrooms metaphors, and celebrities photography and visual communication photography, and celebrity photography, and cameras fame, and photography photography, and fame personality personality, and photography photography, and personality news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines heroes, and celebrity photography, and heroes heroes, and photography actors, and photography actors, and celebrity false leaders false leaders, and celebrities false leaders, and actors actors, and false leaders celebrities, and false leaders celebrity, and press agents press agents, and fame fame, and press agents photography, and truth photography, and beauty cameras metaphors metaphors, and actor as mushrooms celebrity magazines press Celebrities Made While You Wait 13160 Celebrities Write on Parchment for Future Ages New York Times
June 2, 1912
SM 9 This article reports that Bernard Shaw, Admiral Dewey, “and Others Contribute to the Modern Historical Records Associations Ambitious Project,” by writing on parchment to preserve a record of their work. history history celebrity celebrity culture motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonography phonograph, and historical preservation historical preservation, and phonograph Konta, Alexander, and historical preservation historical preservation, and Alexander Konta Modern Historic Records Association paper materials, and paper paper, and historical preservation historical preservation, and paper parchment materials, and parchment Shaw, George Bernard celebrity culture celebrity, and new media Celebrities Write on Parchment for Future Ages 14280 The Celluloid Danger The Times [London]
April 1, 1913
7 This article reports on the fire hazard posed by celluloid. motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire harzard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children women women, and movie theaters motion pictures, and women electricity, as fire hazard non-USA Great Britain Great Britain, and motion pictures Great Britian, and celluloid children The Celluloid Danger 37690 Censor Bars 'The Miracle' Chicago Daily Tribune
April 11, 1913
10 This article details the reason why Chicago authorities censored the film The Miracle (1913?). The article's subtitle reads: "'Depicts Immorality and Is Insulting to Religion.'" Chicago, IL censorship motion pictures motion pictures, and Chicago Chicago, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings religion religion, and motion pictures motion pictures, and religion religion, and censorship censorship, and religion censorship, and The Miracle (1913) Censor Bars 'The Miracle' 14090 Censors Conduct Model Picture Show New York Times
May 16, 1909
7 This article reports that Board of Censorship of Moving Pictures and the People’s Institute gave a demonstration mainly to school teachers and it was a “model show.” The subtitle of the articles reads: "Had the Theatre So Lighted That the Audience Could See to Read; Exhibit Biblical Pictures; Also Statues and Paintings A Comic Side, Too Speaker Thinks Clergy Fear Human Nature." children censorship motion pictures education motion pictures, and education education, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children religion religion, and motion pictures motion pictures, and religion censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and reformers censorship,and reformers Censors Conduct Model Picture Show 13810 Censors Inspect Nickel Theaters Chicago Daily Tribune
May 1, 1907
6 Lieut. Alexander McDonald, head of Chicago’s new “nickel theater bureau” quoted: “‘In my estimation the penny arcades are more in need of reform than the nickel theaters, and the theaters need it badly enough…. I will venture that there weren’t 20 per cent of the penny moving pictures that could be called decent.’”
The subtitle of this articles reads: "Find Many Bad Shows in Them and Worse in the Penny Arcades; Have Much to Condemn; Expect to Cover City in Three Days and Make a Complete Report. Penny Arcades the Worst. Thaw and Other Murder Scenes." immorality children Chicago, IL censorship actors acting actors acting photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures nudity nudity, and the stage theaters theaters, and 5-cent values, and theater values, and motion pictures motion pictures, and values theater, and values values immorality, and theater immorality, and motion pictures motion pictures,and immorality religion religion, and motion pictures religion, and theater theater, and religion motion pictures, and religion actors, and status of motion pictures, and Chicago Chicago, and motion pictures violence motion pictures, and violence violence, and motion pictures motion pictures, and crime advertising theater Censors Inspect Nickel Theaters 15960 Center for Moving Picture Supplies Chicago Daily Tribune
Feb. 7, 1909
Q 9 This article talks about Chicago's place in supplying the growing moving picture business. Chicago, IL motion pictures capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Chicago Chicago, and motion pictures Center for Moving Picture Supplies 31720 Charged Charms of Brigitte: Bardot Boom Balloons in the U. S. Life
June 30, 1958
44 50-52 This one of several articles (several appeared in Life alone) in mainstream magazines publicizing Brigitte Bardot and her movie And God Created Woman. The magazine devoted three pages of non-nude color photographs to the actress designed to accentuate her “charged charms.” magazines Bardot, Brigitte magazines, and sexuality sexuality women women, and magazines magazines, and sexuality motion pictures motion pictures, and Brigitte Bardot color photography photography, and color color, and sexuality sexuality, and color Charged Charms of Brigitte: Bardot Boom Balloons in the U. S. 26940 Charity's Report Backs Allegations that Priest Engaged in Misconduct Los Angeles Times
Aug. 5, 1990
B (Metro) 3B This article details charges that Bruce Ritter, a Catholic priest who had been a member of the antipornography Meese Commission in 1985-86, had himself been involved in sexual misconduct. sexuality pornography Meese Commission Ritter, Bruce Covenant House, and Bruce Ritter Ritter, Bruce, and pornography pornography, and Bruce Ritter Meese Commission, and Bruce Ritter Charity's Report Backs Allegations that Priest Engaged in Misconduct 40990 Chasing an Emotional Rainbow New York Times
Nov. 21, 1937
178 This article discusses color's ability to arouse emotions and the interest that has been shown in this topic by movie makers who have used Technicolor. "Makers of Technicolor movies, naturally are deeply interested in the capacity of color to induce emotion. The affinity is a heaven-made one -- emotions being so to say, the primary colors of the movie palette. Because there is no adequate research on the subject, problems involving color emotion (?) are almost without precedent. But serious attempts have been made by the staff of Selznick-International to break down color effects and establish a sort of emotion spectrum." The article mentions Dr. Robert T Ross of Stanford University and also William A. Wellman. Kalmus, Herbert censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color color, and research on Chasing an Emotional Rainbow 22260 Child Pornography Law Enacted New York Times
May 22, 1984
A 20A See also: media See also: violence See also: sexuality This article deals legislation passed to fight child exploitation and child pornography. presidents and new media Reagan administration sexuality motion pictures mass media censorship and ratings motion pictures and popular culture pornography child pornography children mass media, and children children, and pornography media effects media effects, and children Meese Commission Reagan administration, and pornography Reagan, Ronald Reagan, Ronald, and pornography children, and media Child Pornography Law Enacted 14820 Child Takes Poison after Picture Show New York Times
June 7, 1911
3 The subtitle to this article reads: "12-Year-Old Girl Moved to It by a Lurid Romance She Saw Depicted. Yearned to Die a Heroine. Swallowed the Deadly Tablet at Her Mother’s Side Heroic Measures Save Her." children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and suicide violence motion pictures, and crime children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children Child Takes Poison after Picture Show 42270 Children and the 'Movies' Youth's Companion
March 3, 1921
95 9 134 This article notes that perhaps two-thirds to three-fourths of movie audiences were youth "of all ages, from high-school pupils down to youngsters of nor more than five years; but most ... of the grade-school age, say from seven to twelve years of age." These blasé little 'movie fans' were watching material comparable to the dime novel and "cheap love stories." Only "there is no reading that present or can present things so vividly as the moving-picture screen presents them...." It is the parents' responsibility to supervise what their children watch. censorship and ratings motion pictures motion pictures, and censorship censorship, and motion pictures children and media motion pictures, and children children, and motion pictures media effects media effects, children and movies motion pictures, and parents motion pictures, and dime novels children, and motion pictures audiences audiences, and motion pictures motion pictures, and audiences audiences, and children censorship children Children and the 'Movies' 13560 Children Cheered War Heroes; Two Thousand Little Ones the Happy Guests of the City History Club New York Times
Feb. 23, 1899
12 This article reports that children cheered moving pictures and telephotographs. “The popular generals and well-known warships were instantly recognized and their appearance n the screen was greeted with a deafening hubbub of whistling and yelling that the patient lecturer had difficulty quelling.
“Roosevelt in his Rough Ride uniform and Wheeler, both ever present where any fighting was going on, were the most popular of the warriors, and the Brooklyn and Oregon warships, aroused the greatest enthusiasm.” nationalism history motion pictures, and Americanization motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism history and new media motion pictures, and history history, and motion pictures materials children and media motion pictures, and children children, and motion pictures telephotography Roosevelt, Theodore Roosevelt, Theodore, and motion pictures Roosevelt, Theodore, and new media presidents and new media Roosevelt, Theodore, and motion pictures Roosevelt, Theodore, and new media children Children Cheered War Heroes; Two Thousand Little Ones the Happy Guests of the City History Club 14780 The Children in Danger Chicago Daily Tribune
Oct. 9, 1906
8 This article says that movies are more dangerous to children than the live theater. It says that “If the rapid increase noticed this year in the number of penny arcades and nickel electric theaters meant only that speculators were reaping a rich harvest of small coins at little expense to themselves there would be no objection to it.” But “there would be no call for police interference if the children were not taught immorality as well as encouraged in thriftlessness.”
While some stage plays are “depraved,” the movies are “more dangerous to children because they are brought near to the children’s schools and homes, and the price is so low that children who never have been to the theater in their lives are habitual patrons of the penny or nickel shows.” Article says that movies have “as many … criminal or disreputable scenes as the imagination of the kinetoscope artist can suggest are presented with lifelike distinctness for young children to gloat over.” The machines show things that “no father would wish his young son or daughter to look upon.” theater stage children Chicago, IL censorship actors acting actors acting motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity motion pictures, and Chicago Chicago, and motion pictures actors, and status of censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings violence violence, and motion pictures motion pictures, and violence motion pictures, and crime children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children values values, and movie theaters theater and stage motion pictures, and stage stage, and motion pictures advertising The Children in Danger 35350 The Children's Hour (aka Infamous; The Loudest Whisper) William Wyler United Artists; Mirisch Company, Worldwide Productions
1961
This psychological drama was a remake of the 1936 film These Three, about schoolmistresses are publicly accused of bing lesbians by a vindictive pupil, despite the fact that one, Karen (played by Audrey Hepburn), has a boyfriend. The other schoolmistress, Martha (played by Shirley MacLaine), is eventually forced to acknowledge that she does in fact have feelings for Karen, with grevious consequences.
By 1961 there were several movies in production in which homosexuality was a major theme, even though the movie industry's Production Code forbade this topic. These films included Otto Preminger’s Advise and Consent (Columbia, 1962), John Huston’s Freud (Universal, 1962), United Artists’ The Best Man (1964), starring Henry Fonda, United Artists’ The Children’s Hour (1961), and The Devil's Advocate.
Summary from American Film Institute Catalog: "Karen Wright and Martha Dobie are the head-mistresses of a small private school for girls. Their major disciplinary problem is 12-year-old Mary Tilford, the granddaughter of the town's most influential citizen. When the child is punished for telling a lie, she runs to her grandmother and tells another--and much more devastating--lie from which it may be inferred that the two teachers are having an "unnatural" relationship. Although Mary herself only dimly understands what she has said, the effect upon her shocked grandmother is obvious; and Mary elaborates upon her story. Horrified, Mrs. Tilford takes Mary out of the school and urges other guardians and parents to do the same. Karen and Martha, forced into taking drastic action, bring a slander suit against Mrs. Tilford but lose the much-publicized case when their chief witness, Martha's irresponsible Aunt Lily, deserts them under pressure and refuses to testify in their behalf. Not only is the school destroyed, but Karen realizes that Mary's lie has even created doubts in the mind of her fiancé, Dr. Joe Cardin. After she has released him, Karen suggests to Martha that they go away somewhere to make new lives for themselves. But the scandal has brought to Martha the terrible realization that the child's lie has uncovered a suppressed emotion, and she hysterically confesses her love for Karen. Then, sick with despair, she hangs herself. The vicious lie is eventually exposed, but for Karen it is too late: following Martha's funeral, she walks silently past Joe, Mrs. Tilford, and the other repentant townspeople."

 Based on the play The Children's Hour by Lillian Hellman (New York, 20 Nov 1934). William Wyler also directed the original filmed version of Lillian Hellman's play, These Three (United Artists, 1936). Working title: Infamous. censorship self-regulation motion pictures, and sexuality sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality Wyler, William Production Code, and William Wyler Wyler, William, and Production Code motion pictures, and lesbianism The Children's Hour (aka Infamous; The Loudest Whisper) 13460 Christian Century
1929-1930
Contains articles critical of Will H. Hays and the motion picture industry. values Christianity Christianity Protestants values religion values morality values religion motion pictures and popular culture motion pictures Hays, Will H. motion pictures, and critics Christianity, and motion pictures motion pictures, and Christianity Protestants, and motion pictures motion pictures, and Protestants morality, and motion pictures values, and motion pictures values 23300 Christian Century
1985
This publication was critical of Hollywood's relationship to substance abuse and pornography, and also of the movie industry's adoption of a new rating category, PG-13, in 1984. classification self-regulation CARA censorship and ratings rating system (U.S.) rating systems (non-USA) Protestants values motion pictures Hollywood values religion law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture religion religion, and motion pictures Wall, James National Council of Churches motion pictures, and critics Hollywood, and religion rating system (U. S.), and Protestants rating system (U. S.), and religion Hollywood, and critics Protestants, and drug abuse religion, and drug abuse PG-13 religion, and PG-13 Wall, James, and PG-13 critics Protestants Christianity 39290 A Chromotherapeutic Key to Dramatic Art Current Literature
May 1910
48 5 515 This article talks about the effect of colored lights in the theater. Color "light exerts not only a therapeutic and sanative influence, but an emotional one as well." The article considers a recent lecture by Charles R. Clifford, reprinted in The Illuminating Engineer, on how "the whole history of dramatic expression on stage will have to be written anew by an authority competent to realize and apply chromotherapeutic principles." Clifford argued that "'the effect of color upon the nerve force of the nervous is more distinctly shown than the effect of music.'" (Clifford quoted) The article then discusses the various emotional effects of different colors (e.g., yellow provokes laughter, green contentment, red stimulation, etc.) and the likelihood that moonlight is a factor in causing many people to fall in love. Audiences in the theater are rarely aroused by music the way they are by color. "It is the engineer who controls the lights who makes and unmakes the art of the playwright -- and why? Because, replies our expert, the play is always seen by artificial light." theater theater emotion decadence color, in literature color, and research on color color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations theater and stage color, and theater theater, and color censorship and ratings media effects color, media effects media effects, and color color, and sensuality sexuality color, and sexuality sexuality, and color lighting lighting, and color color, and lighting color, and Charles Clifford color, and music lighting, and theater theater, and lighting censorship A Chromotherapeutic Key to Dramatic Art 13450 Churchman
July 6, Aug. 3, Sept. 21, Nov. 2, Dec. 7, Dec. 28, 1929
Articles criticizing Will H. Hays appear in this publication. values Christianity Christianity Protestants values religion values morality values religion motion pictures and popular culture motion pictures Hays, Will H. motion pictures, and critics Christianity, and motion pictures motion pictures, and Christianity Protestants, and motion pictures motion pictures, and Protestants morality, and motion pictures critics 39850 The Cinematograph Craze The Dial
Feb. 16, 1914
56 664 129-31 This article notes the rapidly growing popularity of movie -- three-quarters of million people attend them every day in Chicago, it says. "It is a mushroom growth that has developed almost over night, and we have not yet had time to view it in all its bearings." (129) The article discusses the social and educational implications of the movie theater "It is, in a sense, the culmination of the process of substituting pictures for words, -- of actual images for the images which the stimulated mind creates, -- which was inaugurated when the photographic illustration began to invade our magazines and to disfigure our newspapers. It shows in a very striking way the demoralizing modern tendency to seek lines of least resistance in every form of activity, to convert education into amusement, and work into play, without giving the least thought to the way in which the process softens the mental fibre and saps the character. Generally speaking, the picture performs its proper function when it supplements the word, printed or spoken, and perverts its function when it would become a substitute. For the picture never can really be a substitute for the word, which is equivalent to calling it a substitute for thought, and the intuitional elements which it supplies to the mental process are a poor exchange for the analytical elements of logical interpretation which reading and listening demand." (130) (my emphasis)
The article cast doubt on the educational value of films or their ability to recapture history. "A great deal of nonsense has been written about the moving picture as an educational agency. If kept strictly in its place as an adjunct to the methods that demand application and concentration, it may serve a useful subordinate purpose. The historical scene as realized from a close study of the sources may be vivified by this form of dramatic presentation, although the setting and the action are necessarily 'faked.' What the imaginative picture in the school text does for the child may be done for him more realistically by the projection of the film on the screen. But all that he will get from it at best is a series of fleeting impressions, and no opportunity is offered him to study the details of scenery and costume and architecture. The fleeting impression, however, can never make a serious contribution to the work of education." (130) Scientific films with microscopic views of subject matter might be more valuable if they have the proper explanation accompanying them.
The author of this piece sees slightly more value in the travel film. "By its means, one may become a traveled observer with a minimum of effort, and its success is attested by the large use which the travel-lecturers make of it. The real traveller, of course, finds his delight in leisurely contemplation of the foreign scene, dwelling at length upon its details, and giving the impression time to fix itself upon the memory. The arm-chair traveller in the picture play-house can do nothing like this, and can retain but a jumbled recollection of what has been shown him. But even such travel is better than none at all...." (130)
Great literature offers possibilities for moving pictures. "Literature offers a boundless field for this new kind of illustration, and its exploitation, guided by artistic conscience, may add much to our enjoyment of the great works of fiction and poetry." (130)
Movies offer great temptations to appeal to "vulgar and depraved tastes," and so "some sort of censorship is demanded by the interests of public morality." (131) Noting that some sort of legal regulation movies operates now in most major cities, the author says that "Censorship as an official institution is never an unmixed good, and is capable of developing into a greater evil than any it seeks to avert, as we have seen in the cases of English licensing of plays and the Russian treatment of the press. The present danger in this country seems to lie in the sort of official stupidity which lays down general rules, and then applies them undeviatingly in all cases -- a procedure which would have the ludicrous result of placing Shakespeare's 'Julius Caesar' under the ban because scenes of violence and murder are in general prohibited." Modern censors "catch not only the vicious and vulgar in their net but also the merely tragic which, distressing as it may be to view, remains an essential part of life, and must not be left out of the scheme if we are to pretend to picture either the history of civilization or the conceptions of the great creative writers. It is not legitimate to throw upon the screen anything which may be described in a printed book that is published without legal interference?" (131) theater stage history celebrity photography, and celebrity culture words vs. images photography photography and visual communication motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space images vs. words theater and stage motion pictures, and stage stage, and motion pictures personality motion pictures, as shadows history and new media personality motion pictures, and personality motion pictures, and fame celebrity, and motion pictures celebrity culture photography, and celebrity celebrity, and photography metaphors actors acting education education, and motion pictures motion pictures, and education children children, and motion pictures motion pictures, and children theaters critics critics, and newspaper illustrations critics, and movie images news and journalism newspapers, and illustrations pictorial journalism critics, and pictorial journalism history and new media history, and motion pictures motion pictures, and history motion pictures, and travel motion pictures, and literature media literacy media literacy, and motion pictures motion pictures, and media literacy (conservative) children, and media The Cinematograph Craze 6360 Cinematographs: Truth and Fiction The Times [London]
April 9, 1913
11 Commenting on moving pictures and their ability to portray things out of their natural context, this article says that “…The horses and the woman and the trees appear on the street as if they had nothing to do with the future or with the past…. Let alone the strange way in which isolating something from its context heightens the meaning, there is also the sheer excitement and curiosity of the sights themselves.” history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures history and new media motion pictures, and history history, and motion pictures history, break with Cinematographs: Truth and Fiction 42720 Cinematography, a New Art for Amateurs Arts and Decoration
Sept. 1919
11 230 The writer of this piece takes the view that “as an educator,” film had “no equal.” He discusses changes in cinematography that are making it more accessible to a broader public and makes it possible to produced home movies. Already by this time, many schools were purchasing motion picture equipment as the technology became smaller and safer (e.g., inflammable film) and they had begun collecting educational movies for their libraries. The results, so claimed one publication for those working in art and design, were astounding. Now, thanks to films, even a child of only eight knew “far more of physiology, geology, geography, or bird and animal life the world over than most of his elders.” Even more amazingly, all this information had “been absorbed with no tax to the youthful mind or memory.”
Not only can film teach history but it can capture the past. "There is another and intimate phase of this new art that makes an even broader appeal; we can have animated pictures of our loved ones; we can preserve for next year the beauty of this year's garden, and for the years to come the charms of childhood. Here is the great human appeal of the home movie. Here is the opportunity to visualize, at least, 'the touch of a vanished hand.'" history education motion pictures motion pictures, and education education, and motion pictures cameras, portable film film, inflammable history and new media motion pictures, and history history, and motion pictures motion pictures, and home movies home and new media cameras, and home movies film, and home movies cameras home Cinematography, a New Art for Amateurs 6580 Cinematography for the Amateur: A New Invention The Times [London]
Feb. 25, 1914
10 This article discusses the invention of a seven-pound movie camera. home motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, and home movie cameras cameras, and home entertainment cameras, portable motion pictures, and cameras cameras, and motion pictures Cinematography for the Amateur: A New Invention 16200 The Cinematograph’s Value In Biology: Recording the Flight of Insects The Times [London]
May 13, 1911
6 This article talks about the use of moving picture to study the rapid flight of insects. Cameras must be able to take many pictures in much less than one second's time. science photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures science, and motion pictures motion pictures, and science Great Britain non-USA Great Britian, and motion pictures motion pictures, and Great Britain motion pictures, and instantaneous photography motion pictures, and race photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing The Cinematograph’s Value In Biology: Recording the Flight of Insects 1190 Cities Prohibit Fight Pictures Chicago Daily Tribune
July 6, 1910
1 This article deals with the moving pictures of the Jack Johnson-Jeffries 1910 heavyweight boxing match. The subtitle reads: "Official of Half Dozen Large Places Act Because of Race Hatred While Followed Contest; Plan Nation Wide War; Christian Endeavor Societies Will Urge Every Governor to Prevent All of Film Expositions." sensationalism children Chicago, IL censorship motion pictures, and sports motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and boxing motion pictures, and race motion pictures, and violence violence, and motion pictures violence race race, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras motion pictures, and Chicago Chicago, and motion pictures violence violence, and motion pictures motion pictures, and violence Cities Prohibit Fight Pictures 14570 Citizens Roused by Crime Shows Chicago Daily Tribune
Oct. 6, 1906
7 In Chicago, this article says, “Along Milwaukee avenue are nearly a dozen of these cheap amusement places, between West Ohio and West North Avenue. The ‘shows’ offered principally are ‘moving pictures,’ showing train robberies, lynchings, safeblowing, ‘black hand’ conspiracies, and all manner of crime and bloodshed.” The subtitle to this article's headline reads: "Moving Pictures of Scenes of Violence Declared to Demoralize Children. Will Protest to Mayor. Ald. Beilfuss Says Cheap Theaters Must Be Supplanted or Made Harmless." The subhead that follows in the article reads: “Crime Taught to Children.” children Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Chicago Chicago and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children Citizens Roused by Crime Shows 19210 City of Renton v. Playtime Theatres, Inc. 475 U. S. 41 (1986) 1986 Realizing that the Miller, Paris Adult Theatre, and Jenkins cases by themselves were inadequate to eliminate adult movie houses, communities tried a different approach that involved controlling land use and concentrating such theaters into “combat zones.” The goal was to prevent concentration in areas where residential neighborhoods and businesses might be destroyed. The United States Supreme Court upheld this method of control in two cases, Young v. American Mini Theatres (1976) and City of Renton v. Playtime Theatres, Inc. (1986). Neither case involved criminal penalties or suppressing films completely. U. S. Supreme Court audiences Supreme Court (U. S.) values archives sexuality obscenity values community law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases motion pictures, and freedom Renton case court cases, and Renton obscenity, and Supreme Court (U. S.), and Renton case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Renton case censorship, and states censorship, and community standards community standards, and censorship pornography pornography, and Renton case Renton case, and pornography pornography, and community standards theaters (adult), and Supreme Court (U. S.) Supreme Court (U. S.), and adult theaters motion pictures, and combat zones Supreme Court (U. S.), and combat zones theaters City of Renton v. Playtime Theatres, Inc. 23720 Clerics Say President Vows a Major Drive to Curb Smut New York Times
Nov. 15, 1986
1 9 This articles covers religious leaders, President Ronald Reagan, and antipornography efforts. "Representatives of 200 American religious leaders said today that they had won President Reagan's commitment to make a national anti-pornography campaign a major priority of his Administration," this article begins. conservatives Reagan, Ronald presidents, and new media Reagan administration values archives sexuality sexuality nudity motion pictures mass media media effects crime values religion censorship and ratings law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography Reagan, Ronald, and nudity nudity, and Ronald Reagan Reagan, Ronald, and pornography Reagan, Ronald, and secular humanism Reagan, Ronald, and liberalism Reagan, Ronald, and spiritual awakening addresses children children, and pornography pornography, and children Reagan, Ronald, and child pornography religion religion, and pornography pornography, and religion Reagan, Ronald, and religion Reagan, Ronald children, and media Clerics Say President Vows a Major Drive to Curb Smut 14660 Close of the Celebration: A Veritable Hot Time in the Old Town Last Night Los Angeles Times
Aug. 27, 1899
A 1 This article reports that "Tonight witnessed the culmination of San Francisco's three days' greeting to the First California Volunteer Infantry and the California Heavy Artillery, the return from the Philippines of these organizations marking an epoch in local annals....
"The events of the past three days are now matters of more than local history. The arrival of the transport Sherman, the splendid demonstrations of the bay and the Aladdin-like transformation of the city's chief streets into the semblance of an enchanted realm by the artistic and lavish arrangement of electric lights in many colors -- all these were enough to turn the heads of ordinarily self-possessed people...." The article goes on to describe the celebration honoring the returning troops. electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity advertising and public relations electricity, and advertising advertising, and electricity electricity, and magic metaphors metaphors, and Aladdin electricity, and Aladdin nationalism and communication electricity, and nationalism nationalism, and electricity Americanism electricity, and Americanism Americanism, and electricity patriotism, and electricity electricity, and patriotism patriotism advertising nationalism Close of the Celebration: A Veritable Hot Time in the Old Town Last Night 14100 Club Women Want Cleaner Photo Plays New York Times
May 28, 1916
X 12 This piece reports on efforts by women to influence the tone and content of motion pictures. The article's subtitle reads: "Mrs. Jane S. Johnson Urges General Federation to Use Its Influence Upon Producers." reform children Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and reformers reformers, and motion pictures critics critics, and reformers reformers, and critics law motion pictures, and law law, and motion pictures motion pictures, and Chicago Chicago, and motion pictures women women, and censorship women, and motion pictures motion pictures, and women censorship, and women motion pictures, and General Federation of Women's Clubs Club Women Want Cleaner Photo Plays 35640 Code Appeal Lost by Narcotics Films: Movie Association Directors, After Showing, Refuse Seal to 'Man with Golden Arm' New York Times
Dec. 7, 1955
48 In November, 1955, the New York Times reported that United Artist would release the movie, The Man with the Golden Arm, with or without the PCA’s seal. It was the first time that a major studio had announced its intention to exhibit a controversial film before submitting it to the PCA. The studio did submit the film to the PCA but the PCA refused to approve it. Johnston and the MPAA’s Appeals Board upheld this decision on December 6, 1955, but the studio heads were divided. Only five voted to uphold the appeal while four other abstained. The following day, Arthur Krim announced that United Artist would withdraw from the MPAA in protest. This episode contributed to Johnston's decision to revise the Production Code in 1956. The revised Code permitted treatments of narcotics use in movies. Sinatra, Frank self-regulation motion pictures, and Production Code Administration (PCA) Legion of Decency news motion pictures and popular culture motion pictures Production Code Production Code, and decline of Legion of Decency, effectiveness motion pictures, and Production Code motion pictures, and PCA motion pictures, and drugs motion pictures, and drugs censorship and ratings Production Code (1956) Krim, Arthur Preminger, Otto Production Code, and United Artists Man with the Golden Arm Catholic Church values Code Appeal Lost by Narcotics Films: Movie Association Directors, After Showing, Refuse Seal to 'Man with Golden Arm' 35490 Code Is Reversed on Seal for Film: Review Board Takes Action on 'Happy Anniversay' -- Dialogue to Be Added New York Times
Nov. 6, 1959
23 This article discusses the first appeals case under the motion picture Production Code to be decided since Eric Johnston, MPAA president, doubled the size of the Code's Appeals Board by bringing in independent producers and directors. This appeal involved overturning the PCA rejection of a movie entitled Happy Anniversary (1959) that involved pre-martial sex. Dialogue was added to add compensating moral values and the film received the PCA's seal. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and Appeals Board Happy Anniversary Code Is Reversed on Seal for Film: Review Board Takes Action on 'Happy Anniversay' -- Dialogue to Be Added 21790 College Theater v. United Artists, et al. This case involved a suit filed by a theater ower who challenged the Motion Picture Association of America's rating from the 1980 movie Cruising. Some at the time saw the case as potentially a challenged to the rating system itself. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification court cases motion pictures and popular culture movie, Cruising rating system (U. S.), legal rating system (U. S.), and controversies CARA, and legal CARA, and controversies Heffner, Richard, and legal Heffner, Richard, and Cruising Nizer, Louis, and Cruising Heffner, Richard CARA Nizer, Louis College Theater v. United Artists, et al. 14750 Collins Cleanses the Dance Hall Chicago Daily Tribune
Feb. 13, 1906
1 The subtitle of this film reads: "Orders Boys and Girls Under 18 Years Old Be Kept from Public Unless Attended by Parents. To Stop Immoral Plays. Ordnance to Go Into Effect on Thursday Will Prevent Depiction of Vice in the Local Theaters." Collins was Chief of Police in Chicago. reform citizenship children Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children violence violence, and motion pictures motion pictures, and violence motion pictures, and crime audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and reformers reformers, and motion pictures critics critics, and reformers reformers, and critics law motion pictures, and education education, and motion pictures motion pictures, and citizenship citizenship, and motion pictures women women, and censorship women, and motion pictures motion pictures, and women censorship, and women Chicago, and motion pictures motion pictures, and Chicago education Collins Cleanses the Dance Hall 15260 Color and the Picture Moving Picture World
July 23, 1910
7 4 182 This article says that “Our advertisement pages, for some time past, have announced the imminent introduction of kinemacolor to the American public, and this week we are in receipt of a batch of literature bearing on the subject….
“…We never expect to see the time when color will wholly replace monochrome in the picture, any more than oil paintings or water color paintings will displace black and white work in graphic art. There are numerous subjects made by the moving picture which are best translated in monochrome….” photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication color vs. black-and-white motion pictures, and black-and-white kinemacolor motion pictures, and kinemacolor Color and the Picture 40870 Color in Beauty Current Literature
Dec. 1890
5 6 419-21 This article is reprinted from the New York Mercury where its full title was "Color in Beauty -- A Society Woman." emotion decadence women women, and color color, and women color in literature color, and research on color color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations censorship and ratings media effects color, media effects media effects, and color color, and sensuality sexuality color, and sexuality sexuality, and color Color in Beauty 42700 Color in Nature Scientific American
June 1924
130 390 “We live in a world of color,” begins this article. “Not only is color a natural characteristic of all forms of nature, but Man endeavors to surround himself with even more color by dyeing his textiles, painting his houses and structures and in fact coloring almost everything that he fabricates not excepting his own person.”
Color in nature has both utilitarian and decorative purposes. The “brilliant colors of the feathers of birds are for decorative effect only and play a part in sexual attraction.”
This piece discusses color as it appears in other aspects of nature and concludes that mankind is still a long way away from being able to replicate nature’s hues. “It is strange that these coloring matters which give such lasting colors in flowers produce only fugitive results when used on textile fabrics. They are all complex substances and one of the real marvels of nature is the ease with which the plant builds up these coloring matters. The chemist succeeds in synthesizing them with great difficulty only, and by methods so complex that it is obvious that we are not even on the road toward learning how the plants do it.” (390) American color color, and nature color, and sexuality color, and textiles color, and dyes Color in Nature 17840 Color In The Motion Picture American Cinematographer
Jan., 1969
50 1 80-83, 120-21, 168-71, 164-66, 178 See filed under American Cinematographer (1969). This 1969 piece examines the use of color in movies. After World War II, better film and lighting made it easier to shoot movies on location. In 1949, Eastman Color introduced a multilayer negative and printing film stock that made it possible to use virtually any 35mm camera to shoot color features, even low-budget color movies. The breakthrough convinced Technicolor to do away with its unwieldy cameras. "The appearance of the market in 1949 of the Eastman Color single-strip negative and printing film stock was an event that literally revolutionized color filming and heralded the approach of the day (now at hand) when black and white theatrical features would all but disappear from the screens of the world." sex motion pictures, and sexuality sexuality corporations cinematography motion pictures lighting cameras color Technicolor Techniscope Eastman Kodak color, and low budet sex scences motion pictures, and sex sexuality lighting, and sex scenes color, and sex scenes sex scenes, low budget motion pictures, day for night photography motion pictures, and location shooting motion pictures, and Technicolor motion pictures, and Eastman Kodak motion pictures, and early color processes color, and early motion pictures motion pictures and popular culture motion pictures motion pictures, and color color, and motion pictures Color In The Motion Picture 40380 Color Movies Coming in Vogue Science News-Letter
Jan. 23, 1926
8 250 5-6 This article says that several companies are interested in making color movies and that they may supersedes black and white films. It notes that the cost of color movies is greater but may not be a huge factor in the total cost of such films. It notes that these films can be duplicated indefinitely, unlike the hand-color films. It notes that there are shortcomings to these films in that such colors as "Pure lemon yellow, cobalt blue and the pure purple shades are not available ... -- at least not until some three-color process is perfect" (6), but that many patrons don't seem to care. "These shortcomings, nevertheless, are not noticed by the cinema patron, who spends most of his time appraising the flesh tints anyway!" (6)
The article continues: "The color of film costs several times the figure for black and white. However, when even the cheapest comedies cost five dollars per second of theater exhibition time, or in other words five dollars per foot of film, the added expense does not rate high when compared to other costs. Unlike the hand-tinted films of previous years, the new films may be duplicated in positive indefinitely without continued repetition of the great initial cost." (6) color color, and motion pictures motion pictures, and color sexuality sexuality, and color movies motion pictures, and sexuality duplicating technologies color, and duplicating technologies duplicating technologies, and color movies motion pictures Color Movies Coming in Vogue 15060 Color Photography. Advances Made Possible by the Instantaneous Plate Chicago Daily Tribune
June 28, 1886
6 The subtitle for the article reads: "Prediction of the Coming Success of Photography in Colors." photography photography and visual communication photography, and color color, and photography color photography, instantaneous Color Photography. Advances Made Possible by the Instantaneous Plate 39580 The Color Red Living Age
Oct. 10, 1908
259 3353 124-26 This article begins by saying that "it has been asserted, and the theory has many disciples, that color exercises a great influence over character.... Of all colors, red is the one round which innumerable superstitions have gathered and it has exercised a vast influence, for good and evil, among all sorts and conditions of people from the dawn of civilization down to the present day." The author comments on color and the uncivilized. "History tells us of the partiality of uncivilized man for bright colors. They appear to excite in savages the pleasure they do in children, for primitive peoples received education mostly through the senses." (124) Continuing, the article asserts that "Brilliant colors have always pleased warlike people and it is therefore natural that red should be the favorite. In its most vivid tints it has a great effect upon the senses: the color of blood excites to action and encourages to combat. At the present day red pigment is used by all uncivilized races...." (125) The article notes superstitions that have grown up around the color red -- e.g., "antipathy to red hair ... in England and Wales among the peasantry...." (125) In ancient times, color was assumed to cure disease. (126) theater theater religion religion, and color media effects emotion decadence color color, and values values, and color values actors actors, and color color, and actors color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations theater and stage color, and theater theater, and color color, and red color, and savages color, and the uncivilized violence violence, and color color, and violence (British) acting The Color Red 39560 Color Studies Pictorial Review
Oct. 1901
3 1 26-27 This article discusses the meaning of different colors and points out that some people believe that "colors themselves have an inherent meaning of their own." (26) Thus "Blue means not only beauty, but also truth, faith and all the greater virtues.... Scarlet in all its deeper shades is the wickedest of colors, the very rogue of the rainbow." Gray, rose, violet, green yellow, brown, white, black also represent different values "but all this is only the primer of color meanings. Experts can read a sunset much as your true music lover can expound an opera by Wagner. The color cult is as interesting as the study of palmistry, for every shading, like each delicate tracing on the palm, is a different indication." (27)
The article notes that actors and the theater use color. "Not only are color harmonies and blendings studied, but the peculiar occult significance that attaches to each." (27) Sarah Bernhardt and Mme. Duse are among the actresses who "have made an art of this color idea." (27) theater theater religion religion, and color media effects emotion decadence color color, and values values, and color values actors actors, and color color, and actors color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations theater and stage color, and theater theater, and color acting Color Studies 42540 Color versus Drawing in Art: A Symposium Art World
Dec. 1917
3 170-76 This piece is a lengthy editorial about the proper relation of color to drawing in art, and it introduces a symposium on the subject that included essays by the painter Carroll Beckwith and Elliott Daingerfield, who was a well-known landscape painter. The magazine, The Art World, was opposed to "the growing vice of untruthful drawing" (170) in modern art and the tendency to elevate color over form in painting. It considered the drawing engaged in by modernists to be "aesthetically" and "socially vicious" (171) and the magazine saw itself as "making a most vigorous war" against this type of art. (171) It opposed "rebellious artists" who did what they pleased, and considered the debate over color and its relationship to form as part of "the age-long fight between reason and riot, between self-restraint and self-indulgence." (172)
This editorial begins by pointing out that there are six elements of art -- "conception, composition, expression, drawing, color, and technique." (170) Color was considered to be fifth in importance of those elements. The author quotes a platitude which said that "Drawing is the mother of living form while color is its glorification." (170) Color glorified form and Nature is the foundation on which the use of color should be built. "When nature creates any living thing she first make the form, and always of an agreeable linear design -- then she colors the form. Color alone is not her aim. It is form plus color, color being the glorification of the form." (170) Later, the editorial says that "in any Standard of Art, color becomes fifth in importance -- the surface technique being the least important." (175) In the symposium, which Beckwith and Daingerfield took differing views of color, editorial sides with Daingerfield's position on the relation of color and form.
The editorial argues against the use of color in modernism and the lack of precision in drawing by artists. The author (or authors) consider themselves "engaged in a fierce battle against the growing vice of untruthful drawing in the world of art." (170) "To draw perfectly in order to give life to a figure has been the ideal of every great artist from Pheidias down," says the editorial. (171) The editorial quotes Daingerfield who said that "weak men never learn how to draw because nothing in art is so difficult as to draw correctly and expressively...." (Daingerfield quoted, 170) Among the artists reflecting this trend was Delacroix, who is described as "a rebel," or "anarchistic rebel against common-sense." (172) Delacroix reflected a growing trend in art. The advocacy of ideas about art that he embodied marked "the birth in art about 1850 of 'modernism,' a word coined by Baudelaire and defined and hurrahed by him into a movement. The result was the appearance of the successive phases of 'modernism': impressionism, neo-impressionism, post-impressionism, cube-ism, tube-ism, future-ism, etc., in which color was gradually more and more so worshipped and drawing step by step so despised that there is to-day not one painter in ten who really is able truthfully to draw a human figure, not to speak of drawing as Rembrandt, Holbein, Velasquez or even Raphael, Titian or Veronese drew." (173) This was a type of "degenerate art." (174)
In addition to Delacroix, other modern artists including Monet come in for criticism. Of Monet's "Rouen Cathedral," the editorial calls it "a badly drawn 'color orgie,'...." (175) Monet would not be forgotten, the editorial predicted, but his reputation would rest on his early work "before he became a 'color experimenter.'" (176)
A caption beneath the painting "The Fisherman" (by ?) reads: "An example of insane drawing by a cynical 'modernistic' charlatan. A specimen of the degenerate and vicious 'deformation of the form' the combating of which is one of the main purposes of The Art World.
Commenting on the relation of color and Nature: "Nature's supreme spiritual purpose is to stir up emotions. For that purpose she uses form and color. But the form and its linear composition is more important as a means of stirring our emotions than color...." (171) Quoting Augustus Thomas who said: "A word or phrase, act or symbol thrills us in proportion to its capacity -- as an explosive agent -- to touch and fire a center of associated emotional memories." (Thomas quote, 171) It has become a "commonplace," the editorial says, that a colored picture would be even more "emotion-stirring" than a black and white one. (171)
The editorial concludes by saying that great American art will only emerged "by agreeing with nature that, before we think of color in art we must first insure the life and beauty of the form, which can only be obtained by the utmost possible truth of drawing, even though we ultimately must follow nature's plan and glorify the form by means of the color." (176) A "work of art is great in ratio of its power of stirring the highest emotions of the largest number of cultured people for the longest period of time." (174, emphasis in original text) emotion decadence color, in literature color, and research on color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and passion color, and sensations media effects color, media effects media effects, and color color, and sensuality lighting lighting, and color color, and lighting color, and music censorship color, and dope color, and inebriation metaphors color, as inebriation color, as dope color, and Nature color, and magic color, and barbarism color, and red color, and yellow color, and morality color, and immorality color, as viewed by an artist color, and form color, and drawing color, and Carroll Beckwith color, and Elliott Daingerfield color, and Delacroix color, and Monet color, and Renoir Color versus Drawing in Art: A Symposium 15140 Color View of Photos New York Times
Feb. 21, 1909
C 2 This article says that “When the audience viewed the composite picture through the complementary colored glasses a startling stereoscopical effect was produced.” The subtitle to the article reads: "Royal Society Tries Method That May Be Applied to Moving Pictures." photography photography and visual communication photography, and color color, and photography color motion pictures color motion pictures, and color photography, and 3D motion pictures, and 3D photography, and stereoscopical slides non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA Color View of Photos 40270 Colored Movies Hurt Eyes Less Than Black and White Ones The Science News-Letter
Sept. 11, 1926
9 283 8 This brief article reports that Professor Leonard T. Troland of Harvard University maintains that color films strain the eyes less than black and white ones. As early as 1914, Troland had written a paper on the problem of flicker and the movie picture jumping which caused eye strain. Troland is quoted as saying that "The more natural a picture is, it seems, the easier it is for the oculo-motor system to make the images 'appear as they should.' In black and white pictures violent contrasts often have to be used in order to get the effect of depth and reality, and such contrasts tire the eyes. Colors on the other hand express contrasts in a harmless way and also improve the truthfulness of the pictures.'" (8)
Troland acknowledges that there had been problems with earlier color films. The article reports that "When motion picture in color were first introduced about fifteen years ago annoying fringes of red and green on the edges of moving objects disturbed the enjoyment of the pictures and critics said that they were much worse for the eyes than the black and white performances. The trouble was that the red and green components were not photographed simultaneously and the effect was a doubling of the image on the screen which the eye muscles struggle to make into one again. This upset the normal balance of what Prof. Troland calls the ocular reflexes." (8) Troland says that in recent years the double images and fringing in color motion pictures has been improved, if not eliminated. (8) Technicolor, and L. T. Troland Technicolor Troland, Leonard color Troland, Leonard, and color color, and Leonard Troland Troland, Leonard, and visual sensation color, and media effects media effects media effects, and color Troland, Leonard, and motion pictures motion pictures, and Leonard Troland Technicolor, and Leonard Troland Troland, Leonard, and hedonism values values, and motion pictures motion pictures, and values motion pictures, and eye strain Troland, Leonard, and eye strain motion pictures Colored Movies Hurt Eyes Less Than Black and White Ones 40090 Coloring and Decorating the Pan-American Exposition American Architect and Building News
Nov. 16, 1901
74 1351 52-54 This article discusses the use of electricity and color at the Pan American Exposition held in Buffalo, NY, in 1901. The Board of Architects and the Exposition Company discussed the use of color in considerable detail. The treatment of sculptural groups around the Government Building were designed "to suggest man in his primitive state...." (53) "The Electric Tower, the crowning achievement of man, is dedicated to the great waterways and the power of Niagara, which is utilized to generate current which will run the Exposition. The "beautiful emerald-green hue of the water as it curls over the crest of Niagara Falls" was used "on some portion of every building." (53) Color was used to represent different states of man's civilization. "Taking it for granted ... that as we enter the grounds from the Park through the forecourt, the causeway bids welcome to the visitors and the countries taking part in the Exposition, and we would come upon the elementary conditions, that is, the earliest state of man suggested on one side and primitive nature on the other," and here the "strongest primary colors" were used. As visitors advanced "up the grounds, the colors should be more refined and less contrasting, and the tower, which is to suggest the triumph of man achievement, should be the lightest and most delicate color...." (53) Continuing, the article says that "the Electric Tower is very light ivory, and is enriched in the capitals, brackets, finials, stars, pinnacles, with gold, and is crowned with a gilded figure of the 'Goddess of Light.' The panels have the brightest fresh blue-green..., suggesting the water as it curves over the crest of Niagara....." (53)
Color was used purposefully on other buildings too. "In the Electricity Building light shades of green and violet bunting are used.... In the Agriculture Building the colors used are intended to suggest autumn and spring...." (54) progress electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity color, and world fairs electricity, and world fairs color, and progress electricity, and progress progress, and electricity progress, and color color, and Pan-American Exposition electricity, and Pan-American Exposition Coloring and Decorating the Pan-American Exposition 32560 Colour 73: Survey Lectures and Abstracts of the Papers Presented at the Second Congress of the International Colour Association, University of York, 2-6 July 1973 New York John Wiley & Sons (a Halsted Press Book)
1973
This work contains papers and abstracts on a wide range of topics relating to color -- color vision, color differences, color rendering and reproduction, design and architecture, and more. The work contains tributed to Deane B. Judd. avant garde Kandinsky, Wassily color Kandinsky Wassily, and color freedom color, and science color, and architecture color, and modern art avant garde, and color art Colour 73: Survey Lectures and Abstracts of the Papers Presented at the Second Congress of the International Colour Association, University of York, 2-6 July 1973 15220 Colour Cinematography: Recent Advances The Times [London]
April 3, 1912
23 An update on developing in making color moving pictures. photography photography and visual communication photography, and color color, and photography color motion pictures color motion pictures, and color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA Colour Cinematography: Recent Advances 16050 Commercial Pictures Corp. v. Board of Regents of New York. 305 N.Y. 336, 113 N.E. 2d 502 (1953), rev'd per curiam, 346 U. S. 587 (1954) 1953 U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives religion values morality values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom court cases, and immoral morality, and motion pictures motion pictures, and morality Commercial Pictures Corp. v. Board of Regents of New York. 14380 Comstock Takes Hand in Physical Culture Show. Has Promoters Arrested for Putting Up Posters New York Times
Oct. 6, 1905
9 The subtitle of this article reads: "Showman Says He’ll Fight. How Can One Show How Physical Culture Has Improved the Body if the Body is Clothed?” children Chicago, IL censorship actors acting actors acting motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity motion pictures, and Chicago Chicago, and motion pictures actors, and status of censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings violence violence, and motion pictures motion pictures, and violence motion pictures, and crime children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children sexuality motion pictures, and sexuality sexuality, and motion pictures censorship, and sexuality Comstock, Anthony Comstock, Anthony, and movie posters Comstock, Anthony, and advertising advertising, and nudity Comstock, Anthony, and nudity nudity, and advertising nudity, and Anthony Comstock posters, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures censorship, and movie advertising advertising, and censorship posters, and motion pictures motion pictures, and posters advertising, and posters advertising, and sexuality sexuality sexuality, and movie advertising sensationalism, and sexuality sexuality, and sensationalism advertising nudity posters Comstock Takes Hand in Physical Culture Show. Has Promoters Arrested for Putting Up Posters 2180 Cook County Police Censorship Records? (1907-1983)
1907-1983
Illinois Regional Archives Depository (IRAD), Ronald Williams Library, Northeastern Illinois University, Chicago, IL The Cook County police set up the first municipal motion picture censorship board in 1907. Files exist -- usually a sheet detail how much film was cut and for what reasons -- on many early silent movies. Many of these films no longer exist and these files may be one of the few documents indicating what they film were about. The Police Department's Film Review Section, and Chicago's Motion Picture Appeal Board operated through 1983. Their funding was eliminated from the city's budget in early 1984. archives law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and Chicago censorship archives censorship, local archives Cook County Police Censorship Records? (1907-1983) 13470 Coolidge Has Learned the Art of Publicity New York Times
Aug. 7, 1927
XX 11 This article maintains that “Calvin Coolidge is the best known President in the history of the United States. [Theodore] Roosevelt does not compare with him, and no other President ever compared with Roosevelt. Even Coolidge’s voice is known to millions who never saw him. His opinions and intentions have wider publicity than had those of any President from Washington to Harding. His face, mannerisms and gestures are familiar to every one of the multitudes who go to the movies or look at the newspapers.” Talks about the use of press conferences, photography, newsreels, radio. The article also discusses Andrew Jackson (“the inventor of Presidential publicity”), Lincoln, McKinley, and Wilson. The subtitle reads: "Radio, Movies, Newspapers and His Own Personality Make Him the Widest Known of Our Presidents The Whims of Other Chief Executives." journalism history motion pictures history and new media motion pictures, and history history, and motion pictures presidents and new media Coolidge, Calvin Coolidge, Calvin, and new media Coolidge, Calvin, and motion pictures Coolidge, Calvin, and radio radio, and Calvin Coolidge motion pictures, and Calvin Coolidge news and journalism motion pictures, and journalism journalism, and motion pictures radio newsreels newsreels, and Calvin Coolidge Roosevelt, Theodore Roosevelt, Theodore, and new media McKinley, William McKinley, William, and new media Wilson, Woodrow Wilson, Woodrow, and new media Lincoln, Abraham Jackson, Andrew Jackson, Andrew, and new media Lincoln, Abraham, and new media Coolidge Has Learned the Art of Publicity 12030 Copyright Infringements (Audio and Video Recorders), Hearings before the Committee on the Judiciary, United States Senate, Ninety-Seventh Congress, First and Second Sessions on S. 1758 Committee on the Judiciary, United States Senate
Nov. 30, 1981 and April 21, 1982
S. 1758 Washington, D. C.: U. S. Government Printing Office, 1982 These hearings with supporting documents run 1,384 pages and includes testimony from several people in the entertainment and recording industries including Jack Valenti, Alan Greenspan, Sony president Joseph Lagore, MCA president Sidney Sheinberg, Screen Actors Guild president Charlton Heston, singer Beverly Sills, Charles D. Ferris (counsel to the Home Recording Rights Coalition), and others.
By the mid- and late-1970s, pirated copies sold abroad of Hollywood movies had become a major concern for film leaders such as Motion Picture Association of America president Jack Valenti. By the early 1980s, the use of video recorders was bring a revolution in home entertainment in the United States. Movie industry leaders such as Valenti, for example, maintained that VCR users were making private libraries of films and using the VCR to fast forward through commercials, thereby threatening to undermine commercial films and television. These hearings have survey information on VCR (and audio cassette) use in the United States during the early 1980s. music Motion Picture Association of America (MPAA) government reports entertainment video cassette recorders (VCRs) MPAA corporations corporations corporations entertainment, home magnetic recording audio tape information technology home materials materials magnetic tape law law government television motion pictures motion pictures and popular culture VCRs audio cassettes sound recording sound recording, and audio cassettes sound recording, and magnetic tape home entertainment copyright intellectual property law law, and VCRs law, and audio cassettes law, and sound recording law, and information technology government hearings government documents government U. S. Congress U. S. Congress, Senate Judiciary Committee Valenti, Jack Music Corporation of America (MCA) Sony Corporation Heston, Charlton Greenspan, Alan Home Recording Rights Coalition Ferris, Charles D. Sheinberg, Sidney Lagore, Joseph information technology, and home law, and copyright information technology, and copyright home, and new media MCA Music Corporation of America (MCA) Congress, U. S. Copyright Infringements (Audio and Video Recorders), Hearings before the Committee on the Judiciary, United States Senate, Ninety-Seventh Congress, First and Second Sessions on S. 1758 15270 Correspondence: Charles Urban Gives All His Time to Kinemacolor Moving Picture World
Feb. 19, 1910
262 Charles Urban discusses Kinemacolor in a Jan. 25, 1910 letter to Moving Picture World. Urban, Charles photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication color vs. black-and-white motion pictures, and black-and-white kinemacolor motion pictures, and kinemacolor Urban, Charles, and color movies motion pictures, and Charles Urban color, and Charles Urban education motion pictures, and education education, and motion pictures Correspondence: Charles Urban Gives All His Time to Kinemacolor 17320 Cosmopolitan
1960s, 1970s
This magazine is interesting for many reasons, among them its use of color, nudity, and appeal to women during the 1960s and 1970s. magazines women, and new media women sexuality pornography obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity women, and magazines magazines, and women pornography, and women 27560 Court Upholds Porn Film Law Pittsburgh Post-Gazette
Sept. 21, 1994
A A6 This work concerns the Child Protection and Obscenity Enforcement Act of 1988. It notes that a three-judge panel of the U.S. Circuit Court of Appeals for the District of Columbia reinstated a provision in this law required those who made explicit sex films, magazines, and other materials to keep records of all the actors, including their ages, names, and nicknames. American Library Association presidents, and new media Reagan administration values sexuality obscenity Meese Commission law censorship and ratings children censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography Child Protection and Obscenity Enforcement Act (1988) pornography, judicial setbacks American Library Association, and pornography pornography, and American Library Association values Reagan, Ronald children, and media Court Upholds Porn Film Law 34990 Crossfire Edward Dymtryk RKO Radio Pictures, Inc.
1947
Production company: RKO Radio Pictures, Inc. The working titles of this film, which was one of the first post-World War II movies to deal with anti-Semitism in the United States, were The Brick Foxhole and Cradle of Fear. censorship and ratings motion pictures motion pictures, and reform Hollywood Ten motion pictures, and anti-Semitism Hollywood Crossfire 14270 Cry of Fire in Theatre New York Times
Dec. 5, 1904
1 The subtitle to this article reports that "Women Faint and Several Are Trampled in Rush for the Doors." motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire harzard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children women women, and movie theaters motion pictures, and women electricity, as fire hazard children Cry of Fire in Theatre 41340 The Cultivation of Obliviousness The Independent
May 13, 1916
85 3510 369-70 art advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing billboards posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards electricity electricity, and electric signs advertising, and architecture advertising The Cultivation of Obliviousness 25680 Culture Watch; Cardinal Rules Los Angeles Times
Oct. 2, 1992
B (Metro) 6B This article covers Cardinal Mahony's proposed new production code for motion pictures, the Cardinal's turn away from that plan, and his critics. The article says that "on Wednesday the cardinal, in a pastoral letter to the entertainment industry, disavowed any intention of saddling the film industry with Torquemada-like edicts and instead offered 'suggestions' on the need for more 'human values' in entertainment." Motion Picture Association of America (MPAA) MPAA values Christianity advertising, and public relations propaganda public relations values archives sexuality motion pictures religion values morality Mahony, Roger Hollywood Catholic Church boycotts motion pictures and popular culture morality, and motion pictures values values, and motion pictures motion pictures, and values motion pictures, and values Catholic Church, and motion pictures Catholic Church, and new production code (1992) Mahony, Roger Mahony, Roger, and production code (1992) (1992) Valenti, Jack Valenti, Jack, and new production code (1992) Mahony, Roger, and pornography pornography, and Roger M. Mahony Hollywood, and Roger M. Mahony Archdoicese, Los Angeles pornography pornography, and Archdiocese of L.A. Jarrard, Dennis Morality in Media Citizens for Decency through Law (CDL) National Religious Alliance Against Pornography boycotts, and pornography advertising, and pornography pornography, and advertising boycott Jarrard, Dennis, and Roger Mahony Mahony, Roger, and Dennis Jarrard critics advertising Culture Watch; Cardinal Rules 13200 Czolgosz Present Los Angeles Times
Sept. 25, 1901
5 President William McKinley and his assassin were filmed the day before the president’s murder, according to this article. “Only for a fraction of a second does he [Czolgosz] stand still; then he again begins to move forward. The kinetoscope pictures his movements exactly. He makes his way to the foot of the stand on which the President is speaking. Again he turns his face toward the kinescope. This time he looks wild and excited. His derby at is pulled down over his eyes, but as he raises his head they can be seen readily.” journalism history history magazines, and photography magazines photography motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones presidents and new media McKinley, William McKinley, William, and motion pictures McKinley, William, and assassination motion pictures, and William McKinley Czolgosz Present 4180 Daedalus: Journal of the American Academy of Arts and Sciences Cambridge, MA American Academy of Arts and Sciences
Summer, 1967
96 no. 3 The entire issue is devoted to theme entitled, "Toward the Year 2000: work in progress." The volume groups contributors around five "problems areas" -- "the adequacy of the governmental structure, the changing nature of values and rights, the structure of the intellectual institutions, the life-cycle of the individual, and the international system." Contributors include: Daniel Bell, "The Year 2000 -- The Trajectory of an Idea"; Ernst Mayr, "Biological Man in the Year 2000"; Gardner C. Quarton, "Deliberate Efforts to Control Human Behavior and Modify Personality"; Harry Kalven, Jr., "The Problems of Privacy in the Year 2000"; John R. Pierce, "Communication"; Samuel P. Huntington, "Political Development and the Decline of the American System of World Order"; Ithiel De Sola Pool, "The International System in the Next Half Century"; and many others including Daniel P. Moynihan, David Riesman, Margaret Mead, Zbigniew Brzezinski, Daniel Ellsberg, Erik H. Erikson, and Karl W. Deutsch. technology USSR nationalism integrated circuits transistors law, and privacy law communication revolution genetics future and science fiction non-USA values aeronautics and space communication surveillance satellites privacy information processing Information Age artificial intelligence and biotechnology communication revolution nationalism and communication global communication integrated circuits genetic engineering privacy surveillance future Soviet Union, and collapse of privacy, and photography privacy, and microphones television satellites, and communication television, and cable cable, television television, and satellites information processing, and computers Bell, Daniel Pool, Ithiel De Sola Brzezinski, Zbigniew Deutsch, Karl Riesman, David technology and society values, and technology future, year 2000 Soviet Union cable 24990 Daily Variety
1930s- 1990s
This trade publication contains articles not only on movie personalities and studios, but also new technologies as they appeared in Hollywood. advertising, and public relations propaganda public relations motion pictures First Amendment freedom motion pictures and popular culture First Amendment, and motion pictures motion pictures, and First Amendment advertising advertising, and motion pictures motion pictures, and advertising law Daily Variety 30510 Dan Glickman, Former U. S. Secretary of Agriculture
[2004?]
July 5, 2004 http://www.greatertalent.com/bios/glickman.shtml This website for Great Talent Network, Inc., Celebrity Speakers Bureau, give biographical background on Dan Glickman, who replaced Jack Valenti as head of the President of the Motion Picture Association of America on September 1, 2004. It notes that Glickman's suggested speaking topics include: "Humor in American Politics"; "World Hunger and America's Foreign Policy"; and "Public Health Challenges of Bioterrorism." The biography gives details about Glickman's education and early career. Motion Picture Association of America (MPAA) Classification and Rating Administration CARA Classification and Rating Administration (CARA) motion pictures censorship and ratings censorship MPAA Glickman, Dan MPAA, and Dan Glickman CARA, and Dan Glickman CARA Dan Glickman, Former U. S. Secretary of Agriculture 30500 Dan Glickman To Succeed Jack Valenti as Head of MPAA; Valenti Resigns after 38-Year Tenure Motion Picture Association of America Press Release
July 1, 2004
See MPAA website This MPAA press releases announced Dan Glickman's appointment as president of the Motion Picture Association of America, replacing Jack Valenti. It give biographical background on Glickman. It notes that "Valenti will continue to supervise (with the President of the National Association of Theatre Owners) the voluntary film rating system which he devised in 1968." Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA CARA Classification and Rating Administration (CARA) motion pictures censorship and ratings censorship Valenti, Jack MPAA Valenti, Jack, and MPAA MPAA, and Jack Valenti Glickman, Dan MPAA, and Dan Glickman CARA, and Dan Glickman Valenti, Jack, and CARA CARA, and Jack Valenti NATO, and CARA CARA, and NATO CARA NATO National Association of Theatre Owners (NATO) Dan Glickman To Succeed Jack Valenti as Head of MPAA; Valenti Resigns after 38-Year Tenure 15390 Daniel Frohman Gets Big Stars to Act for ‘Movies’ New York Times
Dec. 22, 1912
SM 7 This article uses the word “star” to discuss effort to bring famous actors into the ‘Movies.” “Denying that ‘the movies’ incite to riot, instigate crime, corrupt manners and injure the theater business, Daniel Frohman jumps into the arena as a ‘moving -picture manager,’ with a list of stars which include Sarah Bernhardt, ….
“Into this ‘temple of the new art’ will come as many of the famous players of our generation as can be got to pose, bringing with them the play in which each has made his greatest success. This does not by any chance mean that Mrs. Fiske or Miss Marlowe is ‘going into the movies.’ It means simply that each of these actresses will go to Mr. Frohman’s studio for two, or , perhaps three weeks, between engagements, and present, in moving picture form, the one play in which the American people will most want to remember her; as she might, for example, have a plaster cast made of her hand.”
The subtitle of this article reads: "Famous Manager Expects to Work a Revolution in the Moving Picture Field with Film Plays by Bernhardt, Sothern and Marlowe, Viola Allen, James K. Hackett, Mrs. Fiske, Beerbohm Tree, and Others Noted Plays and Characterizations Will Be Preserved for All Time." theater stage history history fame fame celebrity actors acting photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures history and new media motion pictures, and history history, and motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures, and new art form Bernhardt, Sarah advertising and public relations motion pictures, and press agents celebrity culture actors acting materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation celluloid materials, and celluloid historical preservation, and celluloid celluloid, and historical preservation celebrity culture theater and stage motion pictures, and stage stage, and motion pictures celebrity, and actors actors, and celebrity fame, and actors actors, and fame motion pictures, and stars motion pictures, and celebrity celebrity, and motion pictures Frohman, Daniel advertising Daniel Frohman Gets Big Stars to Act for ‘Movies’ 39880 The Daring of the Wicked Herald of Gospel Liberty
July 23, 1914
106 30 932 The article comments on the National Convention of Moving Picture Men and its opposition to movie censorship. The article argues that such "censorship is a real necessity, if the morals of the public are to be protected at all." It contends that moving pictures are much more dangerous to morality than the more traditional live theater. "You see a vulgar word, a corrupt sentiment, or moral impurity, given to the people from the old-fashioned theater, was bad enough to do untold harm, but when it comes to putting vulgarity before the people in pictures, and moving pictures at that, which makes the evil seem to be a living reality, the danger is increased by many fold." The National Convention's opposition to film censorship "is as bold as the wicked one could ask," this article says, "and we dare say it is even a bolder stand than the devil himself would favor, not that he objects to it, per se, but because it so plainly shows the purpose of these men, that they are determined to make money out of the business, if in doing so they have to poison the whole moral element of all human society." The article continues by saying that "It is money at any price, no matter what the best interests of the community, the Church, and the home may have to say as to the matter."
The article ends by drawing a parallel from the Bible. "It was immorality that destroyed Sodom. Just as well as it was immorality that destroyed Achan and Simon and many others. The danger faces us to-day. What shall we do? Stand still, or shall we meet the enemy and stop him?" theater stage censorship motion pictures motion pictures, and values values, and motion pictures religion religion, and motion pictures motion pictures, and religion critics critics, and religion censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings values motion pictures, and Protestants critics, and movie morality theater and stage motion pictures, and stage stage, and motion pictures words vs. images images vs. words actors acting actors, and bias against theater, and bias against motion pictures, and anti-Semitism anti-Semitism, and motion pictures motion pictures, and immorality anti-Semitism theater The Daring of the Wicked 28530 David Fights Goliath: His Last Days Film Offers C.I.A. View of Christ's Life in Contrast to Scorsese's Last Temptation Southwest Newswire, Inc.
Sept. 2, 1988
This article is about a one-hour film made by Kenneth Berg in Israel entitled His Last Days, designed to counter the interpretation of Jesus in Martin Scorcese's Last Temptation of Christ (1988). values motion pictures values critics values motion pictures and popular culture motion pictures, and religion religion, and motion pictures religion David Fights Goliath: His Last Days Film Offers C.I.A. View of Christ's Life in Contrast to Scorsese's Last Temptation 15080 Dazzles Ben’s Eyes. Grand Illumination in the Electricity Building Chicago Daily Tribune
June 2, 1893
1 This article describes the effect of electrical lighting at the 1893 Columbian Exposition in Chicago. “At the southeast corner, running up another column and away in various directions along the floor of the balcony, ran waves of electric light, showing alternately in red, white, and blue. Hanging from the floor of the balcony, were globes of fire that revolved swiftly and changed color with every revolution. From the north half a dozen big crystal globes, lifted high above the floor, cast a dazzling light across the building. They are part of the French exhibit and are designed for use in lighthouses. Half way down the east balcony a large electric ‘finger’ wrote the name of the exhibiter in fiery script upon a frame of incandescent globes. The whole building was filled with light….” electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity metaphors metaphors, and Aladdin electricity, and Aladdin Columbian Exposition (1893) lighting France non-USA France, and electrical lighting non-USA, and electrical lighting Dazzles Ben’s Eyes. Grand Illumination in the Electricity Building 6330 Death of Mr. John Bunny: A Comedian of the Films The Times [London]
April 29, 1915
5 On the death of comedian John Bunny, The Times of London wrote: “Though he is dead moving pictures will keep him before the public for many years.” theater stage history fame celebrity actors acting photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures history and new media motion pictures, and history history, and motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality Bunny, John Bunny, John, and celebrity culture theater and stage motion pictures, and stage stage, and motion pictures history and new media motion pictures, and history history, and motion pictures Death of Mr. John Bunny: A Comedian of the Films 38920 The Decay of American Journalism The Dial
April 16, 1897
22 260 2-4 This article condemns the so-called "new journalism" and says that "if the average American journalist ever had such a thing as a conscience, it was killed long ago, and its place taken by a simulacrum of hypocritical accent and leering mien. This effective modern substitute for a conscience in journalism has discovered the secret of preaching virtue in such a manner that it nowise interferes with the practice of vice. It will, for example, devote one editorial column to deploring the brutal tendencies of the age, and fill twenty columns of the same issue with the highly-colored account, from all possible points of view, of the latest event in the annals of the prize-ring. It will take the high moral ground upon the evils of partisanship, and at the same time gloss over the corruption of the party in whose interests its own are wrapped up...." (2)
The article notes criticism made recently by the Baltimore Yearly Meeting of Friends" condemning newspaper for publishing "'pictures and advertisements, both personal and medical, which so insidiously lead the innocent and unsuspecting from the path of virtue,'" and calling on publisher to raise the "'moral tone'" of Sunday newspaper to make them "'a power for good among the people.'" (3) This article also note efforts in Illinois and New York legislatures to pass laws to regulate newspapers by "making it an offence to publish portraits without the consent of the persons portrayed." (3) It urges people to stop buying newspapers that are dishonest, have a "vulgarity of tone," and reflect "pernicious sensationalism." (3) Such a newspaper, the article says "pollutes the home." (3)
This article asserts that it is an "undeniable fact that most newspapers published in our large cities are so devoid of principle that they constitute a perpetual menace to every genuine interest of our civilization.... There is no more important work to be done for our civilization to-day than that of shaming such newspapers either out of existence or into amended lives, and the responsibility for that work is shred by all alike." (4) journalism entertainment, and journalism entertainment magazines, and photography magazines photography books, periodicals, newspapers democracy newspapers, and democracy democracy, and newspapers news and journalism critics critics, and newspapers newspapers, and critics critics, and journalism journalism, and critics modernity modernity, and newspapers newspapers, and modernity new way of seeing journalism, and entertainment entertainment, and journalism newspapers, and entertainment entertainment, and newspapers violence media effects newspapers, and violence violence, and newspapers violence, and magazines media effects, and violence new journalism newspapers, and new journalism privacy journalism, and privacy privacy, and journalism sensationalism newspapers, and sensationalism sensationalism, and newspapers (conservative) The Decay of American Journalism 23750 Defeated by Pornography [editorial] New York Times
June 2, 1986
2A An editorial critical of the Meese Commission and inaccurate in its account of the Commission's work. The Commission "ended up appealing more to sensibility than evidence," it says. sexuality pornography Meese Commission Meese Commission, and critics pornography, defined Meese Commission, and inaccurate press Defeated by Pornography [editorial] 38850 The Degenerate Stage Century Illustrated Magazine
Aug. 1895
50 4 635-36 This article begins by saying that "Nobody with any knowledge of the facts will deny that the American theater, considered merely as a rational means of entertainment, without reference to its relations to literature and art, is in a most forlorn and debased condition. Tragedy, high comedy, the historical and romantic drama, have been virtually banished from the stage, or find few worthy interpreters, and have been replaced to a large extent by worthless melodramas, the extravagant buffooneries of so-called farce-comedies, or the feverish and unwholesome society play, in which the most vicious topics are discussed openly under the pretense of solving social problems." (635)
The author sees various causes of this decline. Death has taken away many talented writers and actors. Theater managers assumed that "the people do not want an elevated stage; that they wish to be amused, not instructed; and that all that he and his fellows can do is to follow the general economic law of supply and demand, and cater to the public taste. This, on the face of it, looks plausible, but there never was a more fallacious bit of special pleading. The simple fact is that managerial ignorance, vulgarity, and greed are more largely responsible for current theatrical evils than all other causes put together." (636) Theater managers "with scarcely an exception, do not possess even the rudiments of a liberal education. They know nothing of art, literature, or acting, and care nothing about them." (636)
The creation of theater circuits is having a devastating effect on the stage, according to the author. "The establishment of this unenlightened theatrical monopoly has worked and is working serious mischief. The organization of theatrical circuits extending all over the country is not only fatal to the competition which is essential to progress, but, by a system of rotation, enables plays of small value to be kept upon the stage for two or three years. This practice not only acts as a bar to new productions, but confines thousands of actors to one part for season after season, depriving them of all opportunities of improvement, confirming them in all sorts of mannerism and slovenliness, and encouraging them to cultivate a special line, instead of seeking to acquire that power of versatility which is the one supreme test of excellence in their profession." (636)
The article condemns the lack of sound criticism of the stage and laments "the absurd prominence given to the sayings and doing of minor theatrical folk -- a class which includes a large number of the vainest and emptiest of created mortals. It is strange that the modern actor, without managers, instructors, or critics, and discussed with so much reverence, should degenerate?" (636)
Writers are to blame, too, because they have settled for "writing for a market instead of for fame." (636) theaters stars (actors) theater fame celebrity anti-theatrical bias critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality magazines theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality theater, and degenerate modernity modernity, and theater modernity, and melodrama melodrama, and theater audiences audiences, and theater theater, and audiences theaters, and managers critics critics, and theater censorship The Degenerate Stage 37100 Dehumanizing the Stage Current Opinion
April 1913
54 4 297-98 This article provides an interesting commentary on the state of talking motion pictures in 1913 as well as differences between movies and live theater. The article begins by speculating that a combination of the phonograph and moving pictures might eliminate real actors "from the domain of the sonant arts." (297) Thomas Edison, it is noted, has been predicting the future lies with the combination of these two technologies and talking films will open great entertainment (e.g., opera) to the poor. But there are still serious problems with talking films. 1) The volume is often not loud enough to be heard by everyone. 2) "The spectator feels that the words spoken were uttered by the figure on the screen, but it is difficult to forget that they are being transmitted through a phonograph. An illusion of vocal reality has not yet been reached." (297) (emphasis added) 3) Complex scenes are difficult to stage. Placing the phonograph in an area where it can best record sound is very hard to do.
The article ends by citing an article in The Metropolitan by Will Irwin on the "subtle and important differentiations between screen play and stage play. In real drama, we are told, the field of vision gradually recedes in scope. The spectator is looking into a capital V from above. The view of the moving-picture lens, on the other hand, widens in scope. The spectator is looking into the capital V from below. The best modern drama, if recorded unchanged by the moving-picture camera, would seem disproportionate and ineffective." (298) (here Irwin is being paraphrased) theater stage motion pictures theater and stage motion pictures, and stage stage, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Edison, Thomas motion pictures, and Thomas Edison Edison, Thomas, and talking films phonograph phonograph, and motion pictures motion pictures, and phonograph modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Dehumanizing the Stage 42730 A Democratic Art The Nation
Aug. 28, 1913
97 193 If the photoplay was an art, said The Nation in 1913, it was “not a very high art” and one “created for the masses and largely by them.” Granted the medium had a “universal appeal,” the magazine said, but it was one that went directly to “elementary emotions.” The movies simply replaced “the old-fashioned melodrama” and it was doubtful that they imparted much in the way of serious knowledge. “To watch one of these exhibitions is like seeing an animated popular magazine, without the labor or turning the pages. And like the picture magazine it requires no thought and little attention.”
The author says that movies are something more than just "popular" -- the are "intimate," and "To an extraordinary extent" they are "entering into the daily thought of the masses." They appeal to "all nations, all ages, all classes, both sexes" and the "crowds not only throng to the shows; they talk about them, on street corners, in the cars, and over the hoods of baby carriages." critics words vs. images critics, and motion pictures democracy education democracy, and motion pictures education, and motion pictures children and media media effects motion pictures, and emotions motion pictures, and audiences audiences, and motion pictures motion pictures, and universal appeal audiences motion pictures images vs. words A Democratic Art 16530 Department of State Decimal File, 1945-49
1945-49
Record Group 59, Boxes 4452, 5924, 6659 These U.S. Department of State records pertain to Eric Johnston's efforts to expand markets for American movies abroad. Johnston was then president of the Motion Picture Association of America. These papers are located in National Archives I, Washington, D. C. District of Columbia -- Washington -- National Archives I nationalism nationalism imperialism Johnston, Eric capitalism non-USA motion pictures and popular culture motion pictures motion pictures, and State Department, U.S. motion pictures, and foreign policy Johnston, Eric, and foreign policy motion pictures, and anticommunism motion pictures, and capitalism capitalism, and motion pictures anticommunism, and motion pictures motion pictures, and U.S. films abroad motion pictures, and Cold War nationalism and communication nationalism, and motion pictures cultural imperialism motion pictures, and foreign markets archives Department of State Decimal File, 1945-49 15770 Deus ex Machina Los Angeles Times
May 25, 1912
II 4 From a humorous poem: “‘The greatest study of mankind is man,’ /At least it used to be -- for now ‘tis seen / That we have found a more effective plan, / To study mankind out of a machine, / But that the show was speechless, made us sad; / No tale of life in silence should be told; / So science brought the phonograph, to add / A tongue to these dumb phantom forms. / ‘To hold / The mirror up to nature’ now we go / Into a moving- talking, ten-cent picture shows….
“Oh, mighty triumph of dramatic art! / Oh, inspiration, far beyond our reach! / You to these cold flat figures could impart / This modern miracle of seeming speech; / That human interest has been thus cut out / From modern drama used not make us grieve; / It suits an age whose joys beyond a doubt / Are part mechanical, part make-believe; / Now life itself with nature once aglow / Is but a moving talking, ten-cent picture show.” motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures phonograph phonograph, and motion pictures motion pictures, and phonograph Deus ex Machina 21170 Directors Approve Voluntary Classification at Scottsdale Meeting National Association of Theatre Owners, Inc., Newsletter
June, 1968
3 1-2 This issue has information about the origins of the motion picture rating system, formally adopted later in 1968. Theater owners -- NATO was their major national organization -- were principal participants in the formulation and acceptance of this new rating plan. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation National Association of Theatre Owners (NATO) Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) theaters theater owners censorship and ratings rating systems (non-USA) rating system (U.S.) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture rating system (U. S.) motion pictures, and rating system (U. S.) Valenti, Jack Valenti, Jack, and rating system (U. S.) rating system (U. S.), origins NATO MPAA Directors Approve Voluntary Classification at Scottsdale Meeting 300 Distinguished Witnesses Indict and Defend the Screen Drama Current Opinion
Aug. 1918
LXV 2 98-99 This article presents four views about writing for motion pictures. Frank Crane argues that movie producer "exploit actors at the expense of authors."(98) George Middleton, a playwright, says that at the present time, "no self-respecting dramatist can ... afford to bother with the movies. Thomas H. Ince says scenario writing provides great opportunities for college undergraduates. Rob Wagner argues that "not one-half of one percent of scenarios submitted to motion-picture producers are available for any purpose." critics motion pictures motion pictures, and writers Distinguished Witnesses Indict and Defend the Screen Drama 2190 Division of Motion Picture Censorship Records, 1922-1966
1922-1966
Virginia created the censorship division on March 15, 1922. It was one of seven state censorship boards that operated until the 1960s. It was abolished on July 1, 1966. The Collection has about 150,000 items, including letters pertaining to censorship and race in films (e.g., A Son of Satan, c1924; The House Behind the Cedars, c1925). These records are located in the Virginia State Library and Archives. religion race values archives law censorship and ratings censorship archives motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and state censorship censorship, and state motion pictures, and race race, and motion picture censorship values, and motion pictures Division of Motion Picture Censorship Records, 1922-1966 41820 Do Motion Pictures Merely Feed Our Prehistoric Appetites? Current Opinion
April, 1917
62 4 256-57 This article comments on statements about movies made by the influential museum director and librarian John Cotton Dana, and by Edwin H. Blashfield who had written an article in the New York Times Magazine (March 4, 1917), p. SM8. Excerpts from Dana are also included in this article.
The article begins by saying that “To attend a motion-picture play is to be primitive; to listen to an orator is to be a cave man; to read is to be civilized. It is the printed page on which we must put our hopes for progress rather than on the spoken word. As for the sense of sight on which the whole structure of the photodrama, of course, depends it is the most primitive and automatic of the faculties, and therefore, says John Cotton Dana, in the New York Sun, is responsible for the ‘frightful’ popularity of the photoplay, ‘appealing as it does, to the appetites and fancies of prehistoric man.’…” (256)
The article reprints an except from Dana’s remarks:
“‘The movie eye is primeval, while the ear of the happy auditor is merely Pliocene. But by so much as Pliocene antedates the birth a few thousand years ago of the art of writing, by so much does hearing surpass in case the practice of the art of reading. The movie was born almost in the mud of the world’s first seas; the orator, the master of the ear, has had his way with men a million years or two, and long practice has made submission to him easy; but reading was painfully conquered only yesterday, and must be reconquered by each new generation…. The movie's-seeing habit provokes no cerebration.’” (256)
This article paraphrases Dana saying that “In other words, producers of films and managers of photoplays have unconsciously tapped the prehistoric man and have found the vein as wide as all humankind and marvelously rich.” (256) It then quotes Dana saying: “‘My indictment does not lie against the obvious stupidity, dullness, inanity and frightful banality of the movie play itself, not against the pardonable tho lamentable activities of the movie promoter…. My argument against it lies elsewhere, to wit, in the constitution of man himself….’” (256)
Further quoting Dana: “‘We see by nature, we talk by nurture. Every normal man can see and understand the movies, no matter how unintelligent he may be. A few chosen spirits learn to talk, and a few more learn to understand the talkers. Obviously, then nearly all of our fellows prefer the movie to the spoken word…. It grows by he very ignorance and the lack of reading power on which it feeds. It makes daily more difficult the one supremely important task, that of making all men readers, and therefore more intelligent and therefore more self-restrained.’” (257)
A brief paragraph is devoted to Blashfield’s article in which he says that the motion picture is a bridge between civilized man and prehistoric man. journalism history words vs. images history and new media motion pictures, and history history, and motion pictures motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures images vs. words critics motion pictures, and education motion pictures, and education education, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity critics critics, and motion pictures motion pictures, and critics Brisbane, Arthur, and motion pictures motion pictures, and Arthur Brisbane audiences audiences, and motion pictures motion pictures, and audiences censorship and ratings censorship, and motion pictures motion pictures, and censorship censorship, and Arthur Brisbane Houston, Herbert Houston, Herbert, and movie censorship Brisbane, Arthur, and movie censorship Dana, John Cotton, and movie censorship reading reading, and motion pictures motion pictures, and reading censorship Do Motion Pictures Merely Feed Our Prehistoric Appetites? 13420 Dockstander’s Films Gone. Washington Police Destroy Them to Save President’s Feelings New York Times
May 22, 1904
3 This article reports that a fictitious film showing Theodore Roosevelt helping negro into a carriage is destroyed by authorities. “Major Sylvester, the Superintendent of Policy, to-day announced that he has had destroyed all of the films of the moving pictures taken a day or two ago for Lew Dockstander on the east front of the Capitol building, when President Roosevelt was impersonated in the act of helping a fictitious negro into his carriage.
“The police authorities say that this closes the incident.” journalism history photography motion pictures history and new media motion pictures, and history history, and motion pictures Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and motion pictures motion pictures, and race race, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures presidents and new media photography and visual communication race racism Dockstander’s Films Gone. Washington Police Destroy Them to Save President’s Feelings 14980 Does Photos in Colors Chicago Daily
June 26, 1896
9 The subtitle of this article reports: "Process of a Chicago Man is Exciting the East. Work of James W. McDonough. It Is Said, Will Soon Bring About the Formation of a Corporation to Turn His Discoveries to Commercial Account Two Processes at Present Used Attainments of a Scientific Investigator." photography color, and photography photography, and color photography and visual communication color Does Photos in Colors 39780 The Doom of the Old Black and White Moving Pictures Current Opinion
Sept. 1913
55 3 183-84 This article summarizes and excerpts material from an earlier article, apparently in Engineering, about the state of making color motion pictures in 1913. The article begins by discussing how moving pictures work -- a succession of photographs, 16 separate pictures taken during one second, or about 16,000 photographs shown in the course of about 16 minutes. It then talks about the earlier days when films were colored by hand. It offers an excerpt from the Engineering article (quoting from that piece): "'With the introduction of three-color photography it becomes possible to obtain results vastly superior to those above described, and a notable step in advance was achieved by the introduction of the "Kinemacolor" process, which, however, is based, not on the ideal three-color system, but on one with two colors only. Many attempts have been made to apply triple projection methods to cinematography, but so fare with indifferent success.'" (184)
This article notes that in 1913 there were "only two ways of reproducing natural colors in picture or lantern sides: -- The 'additive,' which relies on the fact that red, green, and blue-violet light combine together to form white.... The alternative process is styled the 'subtractive,' being empl0yed to produce three-color prints from blocks or other lantern slides...." (184) The Engineering article also discusses the Zoechrome process which shows promise in the making of future color motion pictures.
Current Opinion concludes: "There can be no question as to the importance in the future of the economical production of color pictures. Of all the systems to which reference has been made the only ones that have hitherto achieved commercial success are the Bicolor and the Kinemacolor processes. The large measure of perfection attained by both these systems and the excellence of the pictures produced in the case of such scenes of Oriental pageantry and the Delhi Durbar will induce the public to look forward with interest to the time when the three -color process can be adapted to cinematograph purposes." (184) motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures motion pictures, and three-color process color, and three-color process photography and visual communication photography, and color color, and photography color, and the Oriental motion pictures, and Kinemacolor color, and Kinemacolor motion pictures, and Zoechrome process color, and Zoechrome process motion pictures, and two color process color, and two color process Kinemacolor, and two color process kinemacolor photography The Doom of the Old Black and White Moving Pictures 40370 Dr. L. T. Troland Dies in Fall Over Cliff New York Times
May 28, 1932
16 This article reports the circumstances of Leonard Troland's accident death from a fall while climbing on Mount Wilson in California, and also recounts his versatile career in psychology and optics, as well as his work with Technicolor. It says that at the time of his death he had been dividing his time between doing research in Hollywood with the Technicolor Motion Picture Company and Cambridge, Massachusetts, where he taught at Harvard University. Technicolor, and L. T. Troland Technicolor Troland, Leonard color Troland, Leonard, and color color, and Leonard Troland Troland, Leonard, and visual sensation color, and media effects media effects media effects, and color Troland, Leonard, and hedonism Troland, Leonard, and sexuality sexuality sexuality, and Leonard Troland Troland, Leonard, and Technicolor Technicolor, and Leonard Troland Troland, Leonard, and psychology Troland, Leonard, and physics Troland, Leonard, and obituary obituaries, and Leonard Troland Troland, Leonard, and motion pictures Troland, Leonard, and death obituaries, and Leonard Troland Troland, Leonard, and obituary Dr. L. T. Troland Dies in Fall Over Cliff 40330 Dr. Troland Dies When He Falls Over Precipice Chicago Daily Tribune
May 28, 1932
This article reports the death of Leonard Troland, a co-inventor of Technicolor, from a fall on Mount Wilson in California. It notes that he had worked on developing devices to listen for submarines during World War I and was involving in creating a process to make movies in natural color. Troland, Leonard, and sound recording Troland, Leonard, and World War I World War I, and Leonard Troland Troland, Leonard Troland, Leonard, and death Troland, Leonard, and Technicolor Troland, Leonard, and color color color, and Leonard Troland World War I war Dr. Troland Dies When He Falls Over Precipice 39590 The Drama Current Literature
Jan. 1905
38 1 69-71 Although this article is concerned mostly with discussing people who are exceptional actors and actresses, such as Mme. Gabrielle Rejane, it begins by discussing "Personality vs. Art," and lamenting the fact that personalities have become much better known that characters they represent or the dramas in which they perform. "Probably the most pronounced feature of the stage to-day, and the success of certain men and women upon it, is the large part that personality plays in comparison to art and essential verity.... Take half the actresses upon our stage, and you will find that it is rather a vogue than a reputation that they possess. You do not think of them as Juliets and Lady Teazles and Desdemonas, or whatever the character may be, but as Miss So-and-So. It is the same with actors. As a matter of fact, we have precious few real actors and actresses, but very many attractive personalities exhibited in a series of plays chosen to emphasize those very traits. Plays are 'built' upon these characteristics. This fact has been mentioned several times in this column...." (69) Such actresses as Mme. Rejane, however, are the exception and who, although "possessing a very marked personality, rises above that personality." (69) stars (actors) theater fame celebrity theater theater, and celebrity culture celebrity culture celebrity, and theater personality personality, and theater motion pictures, and theater fame, and theater theater, and fame theater, and stars actors, and personality personality, and actors non-USA Great Britain Great Britain, and actors Great Britain, and theater theater, and Great Britain actors, and Great Britain personality vs. art acting actors motion pictures The Drama 38260 The Drama of the People The Independent
Sept. 29, 1910
69 3226 713-15 This article discusses the differences between moving pictures and the live stage. It begins by saying that "the cinematograph is doing for the drama what the printing press did for literature, bringing another form of art into the daily life of the people. Plays are now within reach, literally, of the 713/714 poorest, as are good books and good pictures. The secret of cheapness in art as in other things is mechanical multiplication. So long as a play required for each presentation the active co-operation of a considerable number of more or less talented persons it could never be cheap, and in its better forms it was necessarily accessible to a comparatively small part of the population. But once on a celluloid film a spectacle can be reproduced indefinitely, the good as cheaply as the poor, and superiority is no longer handicapped. The same effect is shown in the field of literature. Among the dollar and a half books published every year there is a large proportion of trash or worse, but the volumes sold for fifty cents or less comprise the world's best literature." (713-14)
The article lists other advantages of movies over vaudeville and melodrama on the live stage. These include: 1) spaciousness and distance -- matters are not confined to a narrow stage; movies have a "third dimension" as "characters have a gradual approach and recession" (714); 2) there is more realistic scenery; 3) moving pictures can show what is happening in two places simultaneously; 4) actors no longer have to speak what is being written -- e.g., reading aloud a letter that is being written; 5) moving pictures make close ups of action or faces possible (714); 6) "Ghosts, visions and transformation scenes are accomplished in a manner truly magical" (715); 7) silent moving picture presentation is international -- no translations needed from other languages; 8) "first nights" or openings are no longer confined to a privileged few; 9) replication of actors' performances is no problem and does not diminish the artistic value of the product the way a replica of a valuable painting might. Finally, 10) moving pictures give performances "the permanence of a painting or a statue. Dramatic art may have a true history and make real progress now that direct comparisons can be made with the past. The great actor will still have fame but his head will not be turned by constant personal adulation. It is not the least of the advantages of the cinematograph that dead men cannot rise to receive the applause that follows their death-scene." (715)
The article also discusses the disadvantages of moving pictures when compared to the stage: 1) "flickering and jerky action" (715); 2) pantomime, although work is advances on making good talking films; 3) lack of good color -- "The problem of photography in natural colors may be regarded as solved altho it cannot in its present stage stand the quick exposure and great enlargement necessary for moving pictures." (715)
The article concludes by predicting that good "stereoscopic colored speaking moving picture drama" will be available in the future and that "It will be a new form of fine art not unworthy to rank with the elder arts." (715) theater stage history class children metaphors actors acting actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel democracy democracy, and motion pictures motion pictures, and democracy class, and motion pictures, motion pictures, and class audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and media effects media effects, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children theater and stage motion pictures, and stage stage, and motion pictures history and new media history, and motion pictures motion pictures, and history motion pictures, and printing press duplicating technologies motion pictures, and duplicating technologies duplicating technologies, and motion pictures books, periodicals, newspapers materials materials, and celluloid duplicating technologies, and celluloid celluloid, and duplicating technologies books, and duplicating technologies duplicating technologies, and books motion pictures, and close ups acting, and close ups color color, and motion pictures motion pictures, and movies sound recording sound recording, and motion pictures motion pictures, and sound recording motion pictures, and talking films phonograph phonograph, and motion pictures motion pictures, and phonograph celluloid acting, and facial expression books The Drama of the People 28720 The DVD Comes of Age New York Times
Aug. 17, 2003
2 (Arts & Leisure) 1-26 This section is devoted to considering the impact of DVDs. "In the six years that DVD's have been available in this country, they have reshaped the way we experience culture. Film was the first medium to feel the effects, but it's not the last. In the era of the DVD, it's not enough to sit back and watch. We're invited to meet the directors, interview the performers, read the scripts, study the storyboards, argue with the commentaries and play along with the scores." The articles in this section consider how material on DVDs is conceptualized and created. holography sexuality motion pictures and popular culture digitization DVDs pornography sexuality virtual reality 3-D motion pictures, and DVDs motion pictures, and digital media motion pictures, and interactive holograms motion pictures, and holograms television television, and DVDs DVDs, and television digital media motion pictures The DVD Comes of Age 13170 Dynamic Forces Los Angeles Times
Aug. 29, 1898
5 This article talks about the fact that celluloid film bought in Europe, and that the acids in the celluloid destroy its sensitiveness of the emulsion before and after development. It is hard to carry on a long bicycle trip with the film deteriorating. The subtitle of the article reads: " In the Domain of Science, Industry and Electricity. From Our Own Correspondent. Celluloid Films." history history photography motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation celluloid materials, and celluloid historical preservation, and celluloid celluloid, and historical preservation motion pictures, and celluloid celluloid, and motion pictures celluloid, and materials photography and visual communication celluloid, and photography photography, and celluloid Dynamic Forces 17160 East Village Other (EVO) (New York)
1960s
The East Village Other was an underground newspaper during the 1960s, one that, like other underground papers, used relatively inexpensive printing technology and made innovative use of color. underground media news and journalism title color color underground newspapers news East Village Other (EVO) (New York) 3440 East, West Take Cue on Digital Cinema Standards
Jan. 22, 2001
Nov. 7, 2005 http://www.gcn.com/vol20_no2/news/3567-1.html See filed under "Digital Cinema -- Hollywood - Military" This article appears in GCN: Government Computer News, vol. 20, no. 2. It notes that "Hollywood needs Washington to help set standards to make digital cinema as interoperable as 35-mm film. And Washington needs Hollywood to develop motion imagery for military and other applications." The article notes that "digital technology holds promise for the rapid collection, distribution and management of moving images for military and intelligence applications." R & D nationalism simulations motion pictures research and development war satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication military, and digital cinema nationalism, and digital cinema Hollywood, and military military, and Hollywood Hollywood, and digital movies military, and sensors sensors aeronautics and space communication satellites, and digital cinema digital cinema, and satellites military, and simulations simulations, and military Hollywood, and simulations simulations, and Hollywood National Institute of Standards and Technology (NIST) NIST, and digital cinema digital cinema, and NIST nationalism, and NIST NIST East, West Take Cue on Digital Cinema Standards 34530 Echo: Exploring & Collecting History Online -- Science, Technology, and Industry Nov. 7, 2005 http://echo.gmu.edu/index.php Echo's Research Center "Catalogues, annotates, and reviews more than 5,000 sites on the history of science, technology, and industry. Search or browse by key word, topic, time period, or content." Its Collecting Center contains a "directory of websites that emphasize the online collection of historical materials. Browse by topic, visit the projects, or read our Practical Guide to collecting history online." Its Tools Centers offers free tools to find, create, and manage digital materials, or search and contribute to a collaborative directory of any and all tools applicable to the practice of digital history." Its Resource Center provides "information about ... free workshops and consultancies for historians of science, technology, and industry, plus links to Digital History, our full guide to producing online history." computers post office nationalism Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories Aeronautics and Space Communication Artificial Intelligence and Biotechnology Bibliographies Books, Periodicals, Newspapers Computers and the Internet Duplicating Technologies Electricity General Studies Government Information Storage Military Communication Motion Pictures Nationalism and Communication Photography and Visual Communication Postal Service Radio Sound Recording Telegraph Telephones Television Time and Timekeeping Advertising and Public Relations Capitalism Censorship and Ratings Children and Media Color Critics Democracy Digital Media Education Freedom Future and Science Fiction History and New Media Home and New Media Labor Law Materials Media Effects News and Journalism Non-USA Office Presidents and New Media References, Statistics, Timelines, Maps Religion Sexuality Values Violence War Women archives archives, and new media advertising children future history home photography Echo: Exploring & Collecting History Online -- Science, Technology, and Industry 13850 Edison Controls Pictures New York Times
March 9, 1910
8 This article discusses Thomas Edison's effort to control patents relating to moving pictures. It reports that in 1908, 10,000 moving picture theaters in the United States; in 1910, there were 13,000 theaters with a daily attendance of 4 million people, each paying 7 cents. censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology Edison, Thomas motion pictures, and Thomas Edison Edison, Thomas, and motion pictures motion pictures, and patents theaters motion pictures, and theaters theaters, and motion pictures audiences audiences, and theaters theaters, and audiences motion pictures, and attendance Edison Controls Pictures 6540 Edison Now Making Concrete Furniture;… Home Moving Pictures, Too; … New York Times
Dec. 9, 1911
6 Edison gives demonstration of “a new home moving-picture outfit.” The cost would be $50 to $75 retail. One goal is to focus on “religious and education subject.” Edison’s “hobby,” it is reported, is “to get the moving picture into the realm of education.” home history motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment motion pictures, and Cineograph modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison education motion pictures, and education education, and motion pictures Edison Now Making Concrete Furniture;… Home Moving Pictures, Too; … 850 Edison's New Light Los Angeles Times
May 23, 1896
6 This article mentions a new, more powerful light, Vitascope, and also Nikola Tesla. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences kinetoscope audiences motion pictures, and audiences audiences, and motion pictures Tesla, Nikola lighting motion pictures, and lighting Edison's New Light 6560 Edison Shows the Home Kinetoscope New York Times
March 28, 1912
11 This article reports that Thomas Edison has demonstrated his Home Kinetoscope. “This invention, which is the product of a great deal of labor and a great deal of money, is simply a miniature moving picture machine, a biograph that a child can handle, and that an ordinary living room can hold. Its chief difference from the ordinary commercial kinetosope lies in the fact that it is very simple, very compact, and that its films are non-inflammable.”
It has a roll of film 80 feet long “which carries in infinitesimal proportions the material for moving pictures that take sixteen minutes to operate.”
Children in “Public School 155 are saving up to buy one of the new machines for their own edification. A textbook publisher is already on the road looking into the possibilities, and he is arranging to have scenarios made from school books.” This fits into “Edison’s great dream” which was “one of education by moving pictures.”
This article's subtitle reads: "Tiny Machine Has Non-Inflammable Film and Throws a Picture 2 by 1 ½ Feet. Would Use It in Schools. Geography Would Become Impressive, He Says, and Innumerable Stories Could Be Told." home home history electricity motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment motion pictures, and Cineograph modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison education motion pictures, and education education, and motion pictures electricity, and Thomas Edison Edison, Thomas, and electricity home, and electricity electricity, and home electricity, and home entertainment motion pictures, home Kinetoscope Edison Shows the Home Kinetoscope 6550 Edison’s Latest Marvel The Electric Country House New York Times
Sept. 15, 1912
SM 9 This article discusses Thomas Edison’s electric country house with a gasoline generator and storage batteries to create electricity. This house also has a “home kinetoscope, … a moving picture machine on a small scale, and is fed with miniature films and throws its pictures on a four-by-five aluminum screen. These little negatives are so small that as many of them can be spaced on 75 feet of film as would require, if they were of average size, something more than 2,000 feet.”
The subtitle of the article reads: "Any One May Now Have an Electric Plant in His Own Cellar at a Comparatively Small Cost Which Will Light and Heat It and Make House Work Easy." home home history electricity motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment motion pictures, and Cineograph modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison education motion pictures, and education education, and motion pictures electricity, and Thomas Edison Edison, Thomas, and electricity home, and electricity electricity, and home electricity, and home entertainment Edison’s Latest Marvel The Electric Country House 810 Edison’s New Invention….Life-size Figures Made to Walk and Dance…. Los Angeles Times
April 4, 1896
2 This article talks about the early reaction from audiences to Thomas Edison's invention of moving pictures. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences kinetoscope audiences motion pictures, and audiences audiences, and motion pictures Edison’s New Invention….Life-size Figures Made to Walk and Dance…. 800 Edison’s Vitascope Cheered. ‘Projecting Kinetescope’ Exhibited for First Time at Koster & Bail’s New York Times
April 24, 1896
5 This article talks about the early reaction from audiences to Thomas Edison's invention of moving pictures. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences kinetoscope audiences motion pictures, and audiences audiences, and motion pictures Edison’s Vitascope Cheered. ‘Projecting Kinetescope’ Exhibited for First Time at Koster & Bail’s 15890 Editorial Round Table ... Revolution in Lighting Los Angeles Times
Sept. 22, 1907
VI 10 This article reports that "Electric light is produced at the present time by heating a body white hot when we use its incandescence. This is an expensive and crude way, and the future light will be produced directly from the vibrations of the ether which constitute light. This is accomplished in part at present, for instance, in the mercury vapor tube invented by Peter Cooper Hewitt and also in what is known as the Moore's tube...." electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting modernity modernity, and motion pictures electricity, and modernity new way of seeing electricity, and space and time space and time electricity, and time electricity, and space vacuum tubes vacuum tubes, and lighting lighting, and vacuum tubes Hewitt, Peter Cooper theaters theaters, as fire hazards lighting, and Moore's tube electricity, and Moore's tube motion pictures Editorial Round Table ... Revolution in Lighting 24560 Edwards Cinemas Chain Won't Run "Last Temptation" Los Angeles Times
Aug. 7, 1988
2 (Metro) 8 The article deals with a large theater chain's (Edwards Cinemas) decision not to show the controversial movie Last Temptation of Christ (1988). It also notes that a campaign against the film led by fundamentalist minister Rev. R. L. Hymers, Jr., has been anti-Semitic. corporations corporations values Christianity Universal Pictures Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation boycotts, and theater chains Last Temptation, and Edwards Cinemas Chain anti-Semitism, and Last Temptation of Christ (1988) Last Temptation of Christ (1988), and anti-Semitism motion pictures, and anti-Semitism anti-Semitism Edwards Cinemas Chain Won't Run "Last Temptation" 6760 Effect of Light on Selenium during the Passage of an Electric Current Nature
Feb. 20, 1873
303 materials television, and history of television television, and origins selenium electricity seeing at a distance? Effect of Light on Selenium during the Passage of an Electric Current 14880 Effect on Juvenile Character: Subject and Treatment The Times [London]
Jan. 16, 1917
5 A report on what impact moving pictures may have on juveniles. children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Great Britain Great Britain, and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures non-USA Great Britain motion pictures, and crime Effect on Juvenile Character: Subject and Treatment 14860 Efforts to Lure School Children Chicago Daily Tribune
April 26, 1907
4 The subtitle to the article reports: "Free Tickets to Dance Halls and Nickel Theaters Are Offered to Pupils; Teachers Tell of Evil; Policed Department Will Be Called Upon to Put an End to the Practice." children Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Chicago Chicago and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures Efforts to Lure School Children 40770 Elaborate Apparatus Makes Three-Dimension Movies Science News-Letter
April 30, 1932
21 577 273 This article reports that "Motion pictures in which the actors 'stand out from the screen' and appear in relief have been produced with experimental apparatus devised by Dr. Herbert E. Ives of the Bell Telephone Laboratories in New York. Dr. Ives reported his experiments before the meeting of the National Academy of Sciences.
"The apparatus for producing such pictures is quite elaborate. Instead of a lens, the camera uses a four-foot concave mirror, like those used in reflecting telescopes. It reflects the image of what it 'sees' on a transparent screen consisting of 200 minute concave grooves. Here photographic records of successive exposures are made, not on motion picture film, but on small photographic plates.
"Prints from these negatives are then mounted on a large disk, which brings them in slow succession into position in the projecting machine, while another smaller disk, rapidly rotating, flashes light through the lens. The projection screen consists of 200 quarter-inch transparent rods, whose front and rear surfaces focus the light to form the apparently solid moving images in the projection space.
"Immediate commercial application is hardly expected, Dr. Ives stated, because of the difficulty of obtaining the extreme accuracy of all mechanical and optical adjustments necessary for successful operation." 3-D motion pictures, and 3-D 3-D, and motion pictures motion pictures, and 3-D Bell Laboratories Bell Laboratories, and 3-D films 3-D, and Bell Laboratories motion pictures Elaborate Apparatus Makes Three-Dimension Movies 38060 Electric Shock Youth's Companion
Feb. 9, 1905
79 6 72 This article warns readers, especially youth, of the dangers of electricity. "One of the new and not uncommon dangers of modern life is that of getting in the way of a powerful current of electricity and receiving the entire discharge through the body," it begins. electricity modernity modernity, and electricity electricity, and modernity electricity, and electrocution children and media children, and electricity electricity, and children (youth) children Electric Shock 42620 Electric Sign Monstrosities Scientific American
Sept. 24, 1910
103 13 230 This article laments the impact of electric signs used for advertising in Times Square and elsewhere in New York City. The electric signs are better than the traditional billboards in that at night they don't blot out the countryside. "It was inevitable when once the electric incandescent and arc light lights had been perfected, that their peculiar fitness as instruments of advertising should ultimately be recognized. The electric sign, if it be arranged with any degree of taste, is not the form of Brobdingnagian billboards strewn out along the railroad routes of the country, the average electric sign is a thing of positive beauty. Moreover, being displayed at night, it does not tell its story at the expense of surrounding country or background, being in this respect superior to the railroad billboard, which more often than not is spread, like an ugly smear, right across the beauty of an otherwise attractive landscape.
"But even a good thing may be carried too far, and this is what is happening just now in the matter of electric sign advertising. We have in mind the creation of an enormous and most unsightly steel-and-terra cotta tower in Times Square, in this city, which rises sheer from the roof of an otherwise attractive building and extends some hundreds of feet above the sidewalk. This tower, whose surface is entirely unbroken by window, cornice, pilaster, or column, is to be covered, unless the hopes of its projectors are doomed to disappointment, throughout the whole vast width and height of it, with mammoth electric signs. By night, the affair will have a certain spectacular attractiveness and an undoubted commercial value -- but by day! It would be difficult to conceive of an object more vulgarly obtrusive and more exasperatingly ugly than this bald shaft of steel and masonry, grid ironed from top to bottom by the framework and wiring that go to make up electric sign paraphernalia.
"Unfortunately, the permit for this structure, obtained during the previous city administration, is of such a character that Superintendent Miller of the Building Department confesses himself to be powerless to prevent or even modify the construction. We are hardily in sympathy with Mr. Brunner, vice-president of the Art Commission, in his conviction that the time has come when a systematic effort should be made to prevent the erection of unsightly electric signs, not only in Broadway, but throughout the whole city." (230) electric lighting billboards art American advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards critics critics, and billboards electric signs electricity electricity, and electric signs critics, and electric signs advertising, and electric signs color, and electric signs electric signs, and New York City advertising Electric Sign Monstrosities 37450 Electric Telephotography Scientific American
April 18, 1908
98 16 276 This article says that a "Swiss inventor, Eugen Frikart, has taken out a patent on a method of electric telephotography, which should attract considerable attention." It is an improvement on the apparatus devised by the German inventor Arthur Korn because Frikart's invention "can transmit .... pictures and writing over still greater distances without any metallic connection between the sending and the receiving station, the transmission taking place on the same principle as wireless telegraphy. It is possible, for instance, to transmit from Bern to Berlin, in five minutes, a facsimile of a piece of manuscript, without using any conductor. The transmission can take place at any time of the day, no optical apparatus being necessary. Further, only the instrument for which the picture is intended can receive it." The article says this invention should be of assistance to ships at sea and to law enforcement authorities. The article concludes by saying that "There are still many difficulties which the new invention has to combat, but it is hoped that it will soon reach the same state of perfection as the wireless telegraph." wireless communication post office journalism future magazines, and photography facsimile magazines photography electricity theaters electricity, and theaters electricity, and photography photography, and electricity photography and visual communication motion pictures electricity, and motion pictures motion pictures, and electricity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines television telegraph wireless photography and visual communication wireless, and photography photography, and wireless future and science fiction telephotography Frikart, Eugen, and telephotography seeing at a distance modernity modernity, and photography photography, and modernity non-USA Germany Germany, and photography by wire Germany, and telegraph telegraph, and Germany facsimile, and telegraph telegraph, and facsimile duplicating technologies postal service postal service, and facsimile facsimile, and postal service postal service, and telegraph telegraph, and postal service materials materials, and selenium Great Britain Great Britain, and photography by wire Switzerland, and telegraph Switzerland, and facsimile telephotography, and Eugen Frikart Korn, Arthur, and telephotography telegraph, and wireless wireless, and telegraph telegraph, and photography photography, and telegraph American Switzerland Electric Telephotography 460 Electrical Firmament, 1874-1894: Will There Be as Many New Stars in the Next 20 Years? Electrical World
March 3, 1894
XXIII 9 265-71? This article discussing the status of electricity in 1894: “…with the exception of the telegraph and if we add a few years more this branch will then also be largely included almost every application of electricity worth noting has had its birth or development in these two decades [1874-1894]; and it does not require the gift of prophecy to predict that even thousands of years hence the last quarter of this century will stand out in the annals of progress as the age of Pericles does now in the records of antiquity.” (265) electricity telegraph electricity, and telegraph telegraph, and electricity modernity electricity, and modernity modernity, and electricity metaphors metaphors, and age of Pericles electricity, and age of Pericles Electrical Firmament, 1874-1894: Will There Be as Many New Stars in the Next 20 Years? 40080 Electrical Palace and Fountain at the Paris Exposition Scientific American
Oct. 13, 1900
83 15 231 This article discusses the use of electricity and colored lights at the Paris Exposition in 1900. "The Electrical Palace and Fountain occupy one end of the Champ de Mars and constitute the central feature of this part of the Exposition grounds. By day, the ensemble presents a highly decorative effect, but it is at night that it appears to best advantage, when the crest of the Electrical Palace is outlined by thousands of incandescent lamps of varying colors, and the various cascades and jets of the fountain are brilliantly illuminated." Later the article says that "For the illumination four colors are used -- red, yellow, blue, and white; the lamps of different colors are arranged alternately, and for each color there is a separate circuit which passes to a mechanism in the basement, which allows each color to be thrown on at will...." progress American electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity non-USA France France, and color France, and electricity non-USA, and color non-USA, and electricity color, and world fairs electricity, and world fairs color, and progress electricity, and progress progress, and electricity progress, and color color, and Paris Exposition electricity, and Paris Exposition Electrical Palace and Fountain at the Paris Exposition 15040 Electricity at the Fair Chicago Daily Tribune
June 2, 1893
4 This article talks about electricity and color and 1893 Columbian Exposition: “The opening display in the Electricity Building last evening was a charming one. Overpowering in its magnificence, rivaling nature in the variety of her wealth of tint and color and in splendor almost challenging comparison with the mid-day sun, it may fitly [sic] be described as the crowning glory of the Fair. It is so in the most complete sense of the term, for the electric force as there exhibited in the greatest aggregation of power yet obtained by mortals and developed in a bewildering variety of expression is at once the perfection of the beautiful and the highest realization of the useful. The youngest of all the arts based upon scientific investigation, the application of electricity to the service of civilized man is the most brilliantly successful of them all.
…
“The display of the evening included lighting evolved by the hand of man, running up a column of changing hues, and thence merging into a steadier light; and automatic pencil that seemed to write letters in living fire and the most effects in coloring; while everywhere was a flood of light, here soft, there brilliant, in some places concentrated, in other diffused. The tout ensemble was one of fact as far surpassing in grandeur the palace which the imagination of an Oriental writer conjured up for Aladdin as that exceeded the fitfully illuminated tent of the humble wanderer in the Arabian desert. It was a masterly exhibit of the triumph which mind has in these later days achieved over matter, of the way in which man has harnessed the most occult forces of nature in his chariot and forced it into more prosaic service in his workshop to do his mighty will.” electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity metaphors metaphors, and Aladdin electricity, and Aladdin Columbian Exposition (1893) lighting Electricity at the Fair 42770 Electricity in the Movies Literary Digest
July 10, 1920
66 107-13 The movies did not result from "the discovery of a new principle" but rather were depended mainly on "the celluloid film and the electric light." (107) The article quotes extensively from another piece by H. F. O'Brien in The Electric Journal which is about studio lighting and the use of such equipment as the Cooper Hewitt Mercury Vapor tube. Some studios use portable motor generators that are mounted on trailers. O'Brien predicted even greater advances in set lighting during the coming years. motion pictures electricity electricity, and motion pictures motion pictures, and electricity motion pictures, and lighting lighting lighting, and electricity lighting, and Cooper Hewitt Mercury Vapor lights motion pictures, and Cooper Hewitt Mercury Vapor lights Electricity in the Movies 15910 Electricity in the Times Building New York Times
Jan. 1, 1905
BS 27 This lengthy article details how the New York Times building is now using electricity in early 1905. "Electricity actuates all its moving machinery from the ponderous 100-ton presses to the drop of the annunciator that summons an office boy," this story says. He details several aspects of the building from the electricity in the switchboard and telephones, to the telegraph and Western Union, to timekeeping. The article gives 17 reasons why the Times decided to use the Edison electrical connections. The subtitle for the article reads: "Greater Variety and Greater Number of Uses of Electricity Than in Any Other Place -- An Electrical Show Place -- Many Kinds of Lights -- Why Outside Service Was Preferred to an Isolated Plant -- An Unusual Switchboard -- Novel Three-Throw Kiss Switch -- Load Diagram of the Building -- 74 Miles of Wire and 21 Miles of Conduits." motors journalism news and journalism electricity telephones telegraph timekeeping newspapers, and electricity electricity, and newspapers electricity, and telegraph electricity, and telephones electricity, and timekeeping electricity, and Western Union Western Union, and electricity telegraph, and electricity telephones, and electricity journalism, and electricity electricity, and journalism time and timekeeping Edison, Thomas electricity, and motors motors, and electricity electricity, and lighting lighting, and electricity electricity, and Moore vacuum tube Moore's vacuum tube vacuum tubes electricity, and New York Times lighting Western Union Electricity in the Times Building 15920 Electricity's Uses in the Times Building New York Times
Jan. 10, 1904
17 This article reports that "The Times Building, when finished, will be an electrical marvel." He sets out 17 reasons why the Times decided to use the Edison Central Station Service. It set out some of the uses electricity will be put to including 111 motors that will drive four Hoe octuple presses, and many other types of machinery. The article's subtitle reads: "To Operate Over One Hundred Different Appliances. Will Run the Presses, Light the Building, and Furnish Various Conveniences in the Interests of Tenants." motors journalism news and journalism electricity telephones telegraph timekeeping newspapers, and electricity electricity, and newspapers electricity, and telegraph electricity, and telephones electricity, and timekeeping electricity, and Western Union Western Union, and electricity telegraph, and electricity telephones, and electricity journalism, and electricity electricity, and journalism time and timekeeping Edison, Thomas electricity, and motors motors, and electricity electricity, and lighting lighting, and electricity electricity, and Moore vacuum tube Moore's vacuum tube vacuum tubes electricity, and New York Times lighting Western Union Electricity's Uses in the Times Building 38240 The Electrograph -- A New Facsimile Telegraph Scientific American
June 15, 1901
84 24 373-74 This article discusses the facsimile telegraph invented by Herbert R. Palmer, M. E. Thojas, and Dr. William P. DunLany, and made by the International Electrography Company in Cleveland, OH. It notes that it took about 80 minutes to prepare a picture to send to newspapers on a 1,500-mile circuit and that the transmission itself took about 10 minutes. (374) "In the reproduction of a very fine-meshed picture, the stylus of the transmitting machine and the pen of the receiving machine will rule 80 lines per inch. Coarser pictures are transmitted at the rate of 40 lines per inch, or in 4 minutes. The space occupied by a cut in a newspaper could be filled by an equivalent number of words telegraphed by an ordinary operator at a speed of 25 or 30 words per minute. Hence, the time required in transmitting a picture by means of the electrograph is exactly the same as that consumed in telegraphing a verbal message. About 40 minutes are required to prepare the zinc plate for transmission and about 30 minutes to prepare the picture reproduced by the receiving machine for newspaper printing. On a 1,500-mile circuit 80 minutes suffice to prepare a zinc enlargement, transmit the picture, and reduce the picture reproduced for the press. Of this time not more than 10 minutes are consumed in transmission. Machines with cylinders thirty inches in length, having two carriages, are now in the course of construction and are to be used in duplex transmission, one picture being sent simultaneously each way over a single wire. A machine thus receives and sends a picture at the same instant. With two instruments at each end of the line, a quadruplex transmission is possible, four pictures being sent over the wire simultaneously. Thus the average time of transmitting a picture is reduced to two minutes' wire service. That these speeds can be practically attained has been proven time and time again by severe tests made over the Western Union, American Telephone and Telegraph Company, and the Associated Press wires." (374) wood engraving journalism magazines, and photography telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving Palmer, Herbert, and pictures by wire AT&T, and pictures by wire Western Union, and pictures by wire Associated Press, and pictures by wire American Associated Press AT&T magazines photography Western Union The Electrograph -- A New Facsimile Telegraph 38810 Eleonora Duse: A Study from Photographs The Phrenological Journal and Science of Health
April 1896
101 4 25-26 This article comments on the beauty of Italian actresses Eleonora Duse and especially what is convey through her face and eyes as seen in her photographs. "In many respects the face of this celebrated actress is typical of the wonderful nation to which she belongs. Italy and art are almost synonymous terms." (25) As for her eyes, "We would not say there is a cast in these eyes, but if anyone else said so we would not contradict the statement. At all events there is not the straight, staid, settled expression that we expect in people who are governed by reason and a sense of moral obligation. But what depths of passion! what a wealth of love! Such a nature chases in allegro molto time over the whole gamut of joy and sorrow, and alas! the final note is almost sure to be one of pain." (26) Then follows a description of her face: "This mouth is aid. It tells of deep feeling, of intense desires, of hidden lava that may burst forth and burn its way to the consummation of a purpose. It says nothing of hope, nothing of mirth."(26) And -- "The chin is strong, resolute, and tenacious. It bespeaks the kind of will that seizes with a firm grip and retains its hold. The ear is artistic. The forehead shows a comprehensive and versatile intelligence...." (26) As for marriage, "To add to her misfortunes, or rather to crown the bitterness of her early life, she is said to have made the terrible mistake in marriage which so often happens among the devotees of art." (26) Still, she has "reached the summit of international fame" (26) and no doubt, considerable wealth, also. status of actors stars (actors) photography fame entertainment celebrity anti-theatrical prejudice celebrity culture women women, and theater theater, and women values values, and acting values, and women women, and values censorship and ratings censorship, and theater theater, and censorship actors acting actors, and status of theater, and bias against actors, and bias against acting, and women women, and acting entertainment, and immorality morality, and theater anti-theatrical bias sexuality women, and photography photography, and women women, and beauty photography, and beauty religion, and antitheatrical bias celebrity photography, and celebrity celebrity, and photography photography, and beauty beauty, and photography sexuality, and photography photography, and sexuality sexuality, and actresses acting, and sexuality fame, and photography photography, and fame non-USA non-USA, and beauty non-USA, and actresses Italy Italy, and actresses Italy, and beauty Duse, Eleonora, and acting acting, and Eleonora Duse stars, and Eleonora Duse acting, and eyes censorship acting, and facial expression morality religion theater Eleonora Duse: A Study from Photographs 35650 End To Movie Code Urged by A.C.L.U. New York Times
Dec. 6, 1955
45 During the mid-1950s, many groups denounced the motion picture industry's Production Code for being too restrictive. The ACLU was among those groups urging that the Code be eliminated entirely. self-regulation , news motion pictures censorship and ratings Production Code Production Code, 1956 ACLU critics critics, and motion pictures Johnston, Eric Johnston, Eric, and Production Code End To Movie Code Urged by A.C.L.U. 13610 England Hard Up for Troops. Moving Pictures of Army Life to Be Sent Through the Country to Attract Enlistments Chicago Daily Tribune
Sept. 16, 1900
10 The British are now using moving pictures to encourage enlistments into the military. nationalism motion pictures, and Americanization motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism military communication motion pictures, and military military communication, and motion pictures Great Britain non-USA Great Britain, and motion pictures motion pictures, and Great Britain military communication, and motion pictures motion pictures, and Boer War war war, and motion pictures motion pictures, and war England Hard Up for Troops. Moving Pictures of Army Life to Be Sent Through the Country to Attract Enlistments 34550 Entertainment Software Rating Board (ESRB) Nov. 7, 2005 http://www.esrb.org/ Reacting to pressure from Congress, the U.S. Interactive Digital Software Association, the major trade association in the field, created the Entertainment Software Rating Board (ESRB) in 1994. The ESRB provided ratings and content descriptions. The maker of each game a submitted tape and questionnaire to a rating board made up of “three independent, trained raters” of varied backgrounds who had “no ties to the interactive entertainment industry.” According to the ESRB's website, "The ESRB rating system helps parents and other consumers choose the games that are right for their families. ESRB ratings have two parts: rating symbols that suggest what age group the game is best for, and content descriptors that indicate elements in a game that may have triggered a particular rating and/or may be of interest or concern." computers self-regulation sexuality sex censorship and ratings media effects media violence entertainment digital media digitization computers and the Internet video games video games, and rating system (U.S.) rating system (U. S.), and video games Entertainment Software Rating Board (ESRB) Interactive Digital Software Association, U.S., and video games virtual reality digital communication, and video games video games, and virtual reality video games, and digital communication violence violence, and video games video games, and violence sex, and video games video games, and sex rating system (U. S.) media literacy advertising and public relations advertising, and ratings rating systems, and advertising advertising Entertainment Software Rating Board (ESRB) 16250 Eric A. Johnston Papers Johnston was president of the Motion Picture Association of America from 1945 until his death in 1963. This is a solid collection with considerable material on Johnston's personal life, but it has nowhere near as much information about Johnson and the MPAA as the Will H. Hays Collection in Indianapolis has on Hays's years as head of the movie industry. Johnston's Papers are located in the Eastern Washington State Historical Society, Spokane, WA. Washington -- Spokane -- Eastern Washington State Historical Society Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations propaganda public relations archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom archives addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Eric A. Johnston Papers 35930 Eric Johnston Dies; Aided 3 Presidents [obituary] New York Times
Aug. 23, 1963
1, 25 This obituary provides good information on Eric Johnston's life prior to 1945, before he became president of the Motion Picture Association of America. Johnston is described as an "ebullient extrovert." His rise to the presidency of the U. S. Chamber of Commerce is covered. He was hailed as "the first breath of fresh air to blow through the Chamber in 20 years." (25) His work traveling to the USSR for the Franklin Roosevelt administration in 1944 is discussed as is his service to the Truman and Eisenhower administrations. This article says that Johnston ran for the Senate in Washington state in 1940 as a Republican and lost. Motion Picture Association of America (MPAA) nationalism , news motion pictures Johnston, Eric nationalism and communication capitalism capitalism, and Eric Johnston Johnston, Eric, and obituary MPAA MPAA, and Eric Johnston Johnston, Eric, and MPAA Eric Johnston Dies; Aided 3 Presidents [obituary] 34860 Eric Johnston on the Price-Wage Tightrope... U. S. News & World Report
Feb. 2, 1951
30 28-29 This article gives a brief biography of Johnston, then president of the MPAAA and Economic Stablization Administrator. It says that as MPAA president "his chief objective has been opening up foreign markets for American films." (29) Motion Picture Association of America (MPAA) Johnston, Eric motion pictures motion pictures, and foreign market motion pictures, and Eric Johnston MPAA Eric Johnston on the Price-Wage Tightrope... 17230 Esquire 1940s-1960s In a case that had implications for Hollywood publicity, the Supreme Court in 1946 narrowed the federal government’s power to regulate sexual images in magazines when it unanimously overturned the postmaster general’s decision in 1943 to deny mailing privileges to Esquire on the grounds that it included cartoons, pictures, and other sexual material that reflected a “smoking-room type of humor.” Written by Justice William O. Douglas, the decision contributed to proliferation of so-called girlie publications. Esquire was also one of the early magazines after World War II that devoted space to showing pictures of partially nude women. magazines Esquire magazine sexuality pornography obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship Esquire case obscenity, and magazines magazines, and obscenity 27180 Eszterhas Urges Teenagers to Sneak into Showgirls Plain Dealer [Cleveland]
Sept. 15, 1995
E (Arts and Living Section) 8E Eszterhas, the screenwriters for the NC-17 rated movie Showgirls, urges teenagers to sneak into theaters to see the film, thus putting him at odds with MGM/UA and the Motion Picture Association of America. classification self-regulation sexuality sexuality motion pictures, and sexuality CARA sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U. S.) propaganda public relations propaganda advertising motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures, and sex motion pictures, and violence public relations public relations, and motion pictures public relations, and Showgirls motion pictures, and sex sex, and motion pictures lCARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 Eszterhas, Joe Verhoeven, Paul advertising Eszterhas Urges Teenagers to Sneak into Showgirls 38010 The Ethics and Etiquet of Photography The Independent
July 11, 1907
63 3058 107-09 This article begins by saying that on July 1, 1907, in Germany, a "new law goes into effect ... prohibiting the photographing of any person or his property without his express permission." (108) The article continues: "But Germany leads the world in this matter of State control. The Government tends to prohibit everything that can be prohibited and many things that cannot. Photography belongs in the latter class.... There are undeniably abuses in our present free and unlimited practice of photography, but they are not such as can be remedied by law without improper interference with the rights of the camera. What these are cannot be exactly stated, for our mentors of morals and manners have neglected the subject.
"As regards photography in public it may be laid as a fundamental principle that one has a right to photograph anything that he has the right to look at.... Of course a person has no right to snapshot a stranger in a ridiculous or embarrassing position any more than he has a right to gaze into the window of a private house when the window shade has been accidentally left up, but when one appears in public it is always with the expectation and often with the purpose of being seen, and nowadays he must also anticipate being photographed...." (108) ethics ethics celebrity celebrity culture photography, and celebrity culture photography modernity modernity, and photography photography, and modernity new way of seeing photography and visual communication Germany Germany, and photography photography, and Germany law law, and privacy privacy, and law law, and photography photography, and law privacy privacy, and photography photography, and privacy photography, and ethics values, and photography values ethics, and photography celebrity culture photography, and celebrity celebrity, and photography The Ethics and Etiquet of Photography 38660 The Ethics of Amusements The Friend: A Religious and Literary Journal
Oct. 3, 1903
77 12 92 This article prints excerpts from a recent sermon by Baptist minister A. C. Dixon (1854-1925) in which he denounced modern amusements. Apparently there was not much that Dixon liked in modern entertainment. The theater, he said was "'a great black evil institution.'" He went on to say that "'The theatre is a make-believe institution, though superior in intellectual cultivation to the gaming table or the dance. Here and there you find a good actor or a good actress, but the general tendency of the stage is towards immorality.'" Dixon maintained that "There is not a moral theatre on this globe. There are moral plays and moral actors, but there is not anywhere a moral theatre." He denounced modern plays and said that no more than five in 200 were such that "'a self-respecting man could read to a daughter or wife.'" The American theater was "'even worse than in China or Japan, because women do not appear on the stage in those countries. The American stage or the stage of the world is the only place where a black stain on a woman's character will make popular. Women on the stage make fortunes by associating their names with evil, and amusement managers will crowd their theatres with people who come just to see who is advertised as of that repute.'"
Part of Dixon's objections to theater appears to be rooted in the stage's appeal to the senses. "'The theatre, through the eye and ear, does for the audience what the dance does through the sense of touch. The average modern play is full of suggestion and innuendo for both eye and ear. Undress that would not be tolerated in any respectable home, even among brothers and sisters, is common on the stage. Conversation which off the stage would mark a woman as unfit for decent company, and postures from which the face of modest virtue would turn in disgust in any other place, are not only tolerated, but are known by theatre managers to be the popular features of a play.'"
Dixon did not like dancing, card playing, or many other amusements either. The "'modern social dance'" was not an expression of joy in the biblical or even pagan sense. People did "'not dance because they are happy, but they go to the ball for a good time.'"
Dixon ended on a dour note: "'The pleasure seeking spirit does not, in the long run, bring pleasure. It fosters selfishness, makes ugly character and degenerates into a life of debauchery. It ends in hatred of all life and in a sense of failure, which is positive pain, and is certain, sooner or later, to banish all pleasures and fill life with disappointment and sorrow.'" Dixon concluded: "'For me to live, is Christ.'" theater stage entertainment entertainment, and journalism children anti-theatrical prejudice censorship critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater theater and stage motion pictures, and stage stage, and motion pictures actors, and status of actors, and bias against theater, and bias against anti-theatrical bias values morality values, and theater religion law censorship and ratings censorship Baptist church censorship, and theater theater, and Baptists Baptists, and theater theater, and censorship Baptists, and censorship censorship, and Catholics children and media children, and theater theater, and children audiences audiences, and theater theater, and audiences censorship, and commercial entertainment s critics critics, and theater theater, and critics modernity news and journalism news, and entertainment news, and theater journalism, and entertainment journalism, and theater critics, and news critics, and journalism modernity, and the press censorship, and modernity modernity, and censorship religion, and Baptists censorship, and Baptists censorship, and A. C. Dixon Dixon, A. C., and theater Dixon, A. C., and amusements sexuality sexuality, and theater theater, and sexuality women women, and theater theater, and women religion, and women women, and religion words vs. images images vs. words actors journalism motion pictures news theater The Ethics of Amusements 610 Everything Grist for Camera Mill Chicago Daily Tribune
Sept. 27, 1914
G 3 An account of how "Pretty Scrub Girls Invade the Loop" in Chicago. fame celebrity photography, and celebrity culture photography photography and visual communication celebrity, and motion pictures celebrity culture motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography, and sexuality sexuality, and photography privacy women women, and photography photography, and women fame motion pictures, and fame fame, and motion pictures photography, and fame fame, and photography personality, and motion pictures motion pictures, and personality personality celebrity, and photography photography, and celebrity actors acting Everything Grist for Camera Mill 13710 Evil Post Cards Flood the Mails Chicago Daily Tribune
Aug. 29, 1907
3 This article talks about picture post cards made in France or Germany. Five police assigned to the cards and hunt for the manufacturers. The article explains about window displays, art pictures in book stores, “bathing scenes,” “model posing,” and “half nude women in bathing and art costumes.” The article's subtitle reads: "Government Inspectors Try in Vain to Check Tide of Improper Pictures. Want Source Attacked. Urge Raids by City Police on Numerous Shops Selling Such Things." stage post office postal service French postcards eroticism Chicago, IL censorship postcards censorship censorship, and French postcards French postcards, and censorship censorship and ratings sexuality postcards, and sexuality sexuality, and French postcards nationalism and communication postcards, and nationalism nationalism, and postcards non-USA France motion pictures, and French influence stage and theaters, and French influence France, and postcards in U.S. religion religion, and postcards postcards, and religion non-USA non-USA, and French postcards values immorality values, and French postcards immorality, and French postcards French postcards, in U.S.. eroticism, and French postcards motion pictures values, and motion pictures motion pictures, and values motion pictures, and French postcards nudity nudity, and French postcards motion pictures, and Chicago Chicago, and motion pictures nationalism Evil Post Cards Flood the Mails 32600 The Evolution of Motion Picture Lighting American Cinematographer
Jan. 1969
50 1 94-97, 108, 119, 177 Light weight, high intensity lighting units made it possible to film in color, even in low levels of light. In 1955, the 16mm Super High-Intensity Color-Modified Studio Carbon doubled the usable light studios had for filming. Lighting improved during the early 1960s when studios adopted a modified version of the Sylvania Sun Gun, a miniature, high-intensity light original developed for amateur film makers. By the late 1960s, studios had gained even better lighting with tungsten-halogen lamps.
This article appeared in an issue that was devoted to fifty years of innovation in cinema and this piece deals with motion picture lighting from its origins to the 1960s. Among the topics covered are incandescent lighting, the introduction in 1955 of the 16mm Super High-intensity Color-Modified Studio Carbon, and the Sylvania Sun Gun (1961). location shooting cinematography motion pictures motion pictures, and location shooting location shooting, and motion pictures lighting motion pictures, and lighting lighting, and motion pictures cameras lighting color motion pictures and popular culture motion pictures motion pictures, and history of lighting, and 16mm 16mm film, and lighting 16mm 16mm film The Evolution of Motion Picture Lighting 20660 Excelsior Pictures Corp. v. Regents of the University of the State of New York. 156 N. Y. S. 2d 800 (1956); affirmed 144 N. E. 2d 31 (1957) 1957 The case involved a film, The Garden of Eden (1954), about a nudist camp. The movie played on the exploitation circuit. sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality exploitation circuit sexuality sex sexuality nudity exploitation circuit law censorship and ratings censorship court cases court cases, and nudity court cases, and obscenity court cases, and The Garden of Eden motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and nudity motion pictures, and exploitation circuit motion pictures, and exploitation circuit exploitation circuit, and Garden of Eden exploitation circuit, and nudity censorship, and nudity nudity, and censorship sex, and motion pictures motion pictures, and sex motion pictures, and sex court cases, and Excelsior case Excelsior Pictures Corp. v. Regents of the University of the State of New York. 6520 Exporting an Imaginary America to Make Money. Moving Picture Lovers in Foreign Cities Prefer Indian and Cowboy Films to All Others New York Times
July 30, 1911
SM 4 This article deals with the export of American films. “There is one American article of export out of which fortunes are being coined in every corner of the world, and which, under its rightful name, does not appear upon a single steamer’s manifest. This is the picturesque -- what is bizarre, exciting, and unusual in American life, chiefly scenes of cowboys and Indians. This picturesque, a real, definite commodity of genuine commercial importance, goes with many another moving picture film across the seas, and Britain, South American, Australian, and South African [sic] clap their hands with joy, or otherwise show their approval when the exploits of their ‘Yankee’ brothers are flashed upon the screen.”
“Exporting the picturesque has thus become a money maker. The average American film on other subjects is not apt to ‘take’ with the foreigner. He likes, beyond all, dash and action. The cowboy and Indian, especially when they have a strong, simple story behind them that he can readily catch, appeal to the most uninformed peasant and the most stolid mechanic. The story must be simple, for his delight is not at its keenest unless he fully understands what the strange figures are doing. Then they are very much to his taste.
“… This is the America that they have long imagined and heard about….
“… In England alone, according to the latest reliable statistics, there are more than two thousand theaters showing moving pictures….
“…Russia, curiously enough, is getting to be a stronghold of moving pictures and the most insignificant towns and villages, even in remote districts, are being well provided with these amusements. There are reported to be 1,200 electric theatres alone in the Russian Empire. On Sundays and holidays the crowds, as a Moscow visitor recently wrote home to this country, ‘are so great that additional police officers are often required to keep the immense number of people moving and to prevent possible accidents.’” nationalism history motion pictures, and Americanism motion pictures nationalism motion pictures, and nationalism nationalism, and motion pictures motion pictures, foreign nationalism and communication motion pictures, and Americanization motion pictures, and westerns history and new media motion pictures, and history history, and motion pictures motion pictures, and Civil War motion pictures, and American Revolution Abel, Richard motion pictures, and U.S. films abroad non-USA Great Britain Russia Great Britain, and motion pictures motion pictures, and Great Britain Russia, and motion pictures motion pictures, and Russia modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel Exporting an Imaginary America to Make Money. Moving Picture Lovers in Foreign Cities Prefer Indian and Cowboy Films to All Others 37770 Faces That Aid Fortune Outlook
March 3, 1915
498-99 This article discusses the qualities that make for success before the motion picture camera. It cites Thomas Brady who said: "...As to looks, 498/499 a broad face, big eyes, and loads of hair - in the case of girls or women -- are good. A narrow face will not do. There is a girl now playing in New York who, up to a year ago, was considered a great stage beauty. The moving-picture makers all went crazy over her. A test was made of her, and it was found that her features -- she had a Roman nose and beautiful eyes - did not photograph well because they were too narrow..."
The article then notes that Mary Pickford was one who made the successful transition from stage to screen and that the had recently signed a contract to be paid $2,000 a week for an entire year whether she worked or not, and that she was allowed to pick her own plays. theater stage fame celebrity actors acting motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality Brady, Thomas Pickford, Mary motion pictures, and Mary Pickford motion pictures, and Thomas Brady theater and stage motion pictures, and stage stage, and motion pictures photography Faces That Aid Fortune 39620 Fame that Endures Friends' Intelligencer
Dec. 7, 1901
58 49 776 This article begins by saying that "there never was a time ... when personality was more regarded, or when individual character and achievement were so much celebrated." Certain people "are the objects of popular attention, if not of adulation, to an extent never exceeded." The press accounts for some of this fame. "The newspapers are continual evidence of it. They print daily the portraits of those to whom public attention is being directed. Men and women have their pictures carried broadcast, upon the presumption that everyone wants to see how they look. The old aphorism, 'Principles, not men,' is completely reversed. It is 'Men, not principles,' in our day. The general intoxication over the success of Admiral Dewey in sinking the Spanish ships could hardly be measured, at the time, yet it is liable at any moment to be outdone, if occasion should arise. Movements in mass seem to be responsive to and sympathetic with individuals, and probably we never placed so high an estimate on 'personal magnetism.'"
The article warns, though, that elevating personality in this manner is "often very ephemeral. A 'popular idol' can hardly remove his hat before the cheers are transferred to someone else -- the procession moves so fast. ... We see thus that the applause men get is often very fleeting. Many of those who have their pictures in the daily newspapers to-day will not accomplish the like triumph ever again..... The glory of this world, if it be based on works not enduring, will be transitory, indeed."
The author concludes by offering examples of people who have achieved enduring fame -- Martin Luther, George Washington, Benjamin Franklin, William Shakespeare, Homer. The fame of poets is long lasting. "Let us regard the personalities that are lasting, and imitate them." fame fame celebrity celebrity culture celebrity, and newspapers personality personality, and newspapers newspapers, and personality fame, and newspapers newspapers, and fame newspapers, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality personality, and magnetism fame, and magnetism newspapers, and portraits fame, and portraits photography, and portraits personality, and portraits personality vs. character fame, and character news and journalism photography Fame that Endures 38820 'Famous American Actors of To-day' The Critic: A Weekly Review of Literature and the Arts
Dec. 19, 1896
26 774 400 This is a review of Frederic McKay and Charles E. L. Wingate, eds., "Famous American Actors of To-day" (T. Y. Crowell & Co., 1896?). The reviewer notes that there are many actors who have not "established any title to fame, although all of them have enjoyed a greater or less amount of local popularity." This book "demonstrates the melancholy truth that the race of famous American actors is all but extinct, without affording any reasonable ground for hope that it may be renewed in the near future." theater stage journalism fame celebrity celebrity culture critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater celebrity culture theater and stage motion pictures, and stage stage, and motion pictures celebrity, and actors actors, and celebrity fame, and actors actors, and fame actors acting actors, and fame before movies actors, and status of news and journalism actors, and journalists journalism, and actors personality actors, and personality personality, and actors book reviews, and famous actors motion pictures 'Famous American Actors of To-day' 13980 Fans Still Talk of Fight Chicago Daily Tribune
Aug. 7, 1910
C 1 Here is an account of the reaction to the moving picture of the Jefferies-Jack Johnson heavyweight boxing match. The article's subtitle reads: "Pictures Renew Interest in Reno Affair at New York. Big Crowds See the Films. Public Should Let Jeff Alone Now, Says James J. Corbett." sensationalism children Chicago, IL censorship motion pictures, and sports motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and boxing motion pictures, and race motion pictures, and violence violence, and motion pictures violence race race, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras motion pictures, and Chicago Chicago, and motion pictures violence violence, and motion pictures motion pictures, and violence Fans Still Talk of Fight 1120 Far Too Many Theatres Here, Says Dr. Vollmoeller New York Times
April 12, 1914
SM 8 German author Dr. Karl Vollmoeller says movies don’t threatened the theater quoting him: “‘It is very interesting, but, after all, the moving-picture show has nothing to do with the theatre. There is no art about it.’”
The subtitle of this article reads: "Famous German Author of ‘The Miracle’ Now in This Country Believes That a Dozen of Them Could be Dispensed with and Has Hopes that Moving Pictures Will Clear the Atmosphere." theater stage motion pictures theater and stage motion pictures, and stage stage, and motion pictures critics motion pictures, and critics critics, and motion pictures motion pictures, and new art form Far Too Many Theatres Here, Says Dr. Vollmoeller 13800 Farley Begins War on Infamy of Stage New York Times
Dec. 19, 1912
9 This article talks about Roman Catholic efforts to regulate the theater. The subtitle of this article reads: "Cardinal, Who Says He Never Went to Theatre In His Life, Backs Catholic Movement; McGean Blames the People…." immorality children censorship actors acting actors acting photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures nudity nudity, and the stage theaters theaters, and 5-cent values, and theater values, and motion pictures motion pictures, and values theater, and values values immorality, and theater immorality, and motion pictures motion pictures, and immorality religion religion, and motion pictures religion, and theater theater, and religion motion pictures, and religion actors, and status of advertising theater Farley Begins War on Infamy of Stage 15820 Fashions in Kinemacolor The Times [London] This article, part of The Times celebration of its 10,000th number, reports on a "world's fashion revue" given in kinemacolor. science medicine journalism journalism fame fame celebrity photography, and celebrity culture actors acting magazines, and photography magazines photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication education motion pictures, and education education, and motion pictures motion pictures, and medicine medicine, and motion pictures motion pictures, and science science, and motion pictures non-USA non-USA, and motion pictures motion pictures, and non-USA Great Britain Great Britain, and motion pictures motion pictures, and Great Britain color motion pictures, and color color, and motion pictures Great Britain, and color films color, and Kinemacolor color, and Charles Urban Fashions in Kinemacolor 19230 Federal Communications Commission v. Home Box Office. 434 U. S. 988 (1977) 1977 In this case involving Home Box Office (HBO), a United States Court of Appeals held that the FCC had exceeded its authority when it attempted to limit the ability of cable systems to show certain kinds of movies and sporting events. The decision eliminated the Commission’s restrictions on pay TV’s use of feature-length movies. U. S. Supreme Court entertainment audiences corporations corporations Federal Communications Commission (FCC) entertainment, home Supreme Court (U. S.) values archives sexuality obscenity home entertainment home Home Box Office (HBO) HBO regulation values community law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures television FCC, and television television, and FCC cable TV, and FCC FCC, and cable TV censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases motion pictures, and freedom HBO case (1977) court cases, and HBO obscenity, and Supreme Court (U. S.), and HBO case motion pictures, and obscenity obscenity, and motion pictures obscenity, and HBO case censorship, and community standards community standards, and censorship pornography pornography, and HBO case HBO case, and pornography pornography, and community standards theaters motion pictures, and cable television television, and motion pictures FCC cable home, and new media Federal Communications Commission v. Home Box Office. 19240 Federal Communications Commission v. Midwest Video Corp. 440 U. S. 689 (1979) 1979 The United States Supreme Court eroded the Federal Communications Commission’s power in FCC v. Midwest Video Corp. (1979). The Court said that the Commission had exceeded its power by requiring cable televisions systems with more than 3,500 subscribers to offer at least 20 channels by 1986 and to make available some of those channels for educational, government, and public uses. U. S. Supreme Court audiences Federal Communications Commission (FCC) Supreme Court (U. S.) values archives sexuality obscenity regulation values community law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures television FCC, and television television, and FCC cable TV, and FCC FCC, and cable TV censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases motion pictures, and freedom Midwest Video case (1979) court cases, and Midwest Video obscenity, and Supreme Court (U. S.), and Midwest Video case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Midwest Video case censorship, and community standards community standards, and censorship pornography pornography, and Midwest case Midwest Video case, and pornography pornography, and community standards theaters motion pictures, and cable television television, and motion pictures FCC cable Federal Communications Commission v. Midwest Video Corp. 40100 Festivities at the Paris Exposition Pictorial Review
Sept. 1900
2 1 22-23 In describing the Paris Exposition, this article discusses the use of electric light and color. The use of color is linked to the Oriental. "Persian imagery alone could adequately describe the wonders of these palaces of Water and Light with their wealth of translucent color. It is not hard to imagine that as Parisians claim mortal eyes have not gazed yet on anything nearly approaching their equal. All that is powerful and grand, awe-inspiring and beautiful in electricity is here apotheosized." (23)
The article goes on to explain that "Another striking feature of the Champ de Mars is the Luminous Palace, the work of M. Pousin. It has been described as 'an opium dream,' and it certainly is as Oriental as a vision of Tom Moore's. M. Pousin is a painter who has devoted himself to the study of stained glass. He finds in glass his whole delight and ambition, as he says himself glass is more transparent than air, more opaque than metal, and one has every nuance of color, softness, subtlety, depth, solidity at command. It can be milky opaline, iridescent, black as night or metallic, and all forms are possible to it. M. Pousin is an enthusiast; he has raised the Palais Lumineux on some rocks in the middle of the lake near the Tour Eiffel...." (23) progress electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity non-USA France France, and color France, and electricity non-USA, and color non-USA, and electricity color, and world fairs electricity, and world fairs color, and progress electricity, and progress progress, and electricity progress, and color color, and Paris Exposition electricity, and Paris Exposition metaphors metaphors, and color as opium dream color, and the Oriental color, as drug World's Fairs Paris Exposition (1900) Festivities at the Paris Exposition 14530 Few Arrests Under New Sunday Law New York Times
Dec. 23, 1907
3 This piece concerns Sunday blue laws. The subtitle reads: "All Vaudeville Theatres Open, with Programmes Shaped to Meet Doull Ordinance." censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and Sunday movies motion pictures, and blue laws censorship, and blue laws Few Arrests Under New Sunday Law 37830 Field of Electricity Los Angeles Times
April 21, 1897
3 This article discusses a proposal to use "electro-chemistry" to change the skin color of African Americans. It also discusses Marconi and the wireless. The subtitle to the article reads: "New Plans of Telegraphing without Wires. Black Skins Made White by Electricity -- New Methods of Using Morse Symbols -- The Hughes Microphone." wireless communication electricity electricity, and race race race, and electricity Marconi, Guglielmo radio radio, and wireless wireless, and Marconi microphones microphones, Hughes telegraph telegraph, and wireless telegraph, and Morse code wireless Field of Electricity 1290 Fifth Avenue Gay with Easter Host New York Times
April 13, 1914
5 This article comments on the reaction of city crowds to the realization they are being photographed. It also notes the presents of many new automobiles. “A moving picture concern had possession of one of these busses, which was stationed on the Fiftieth Street corner of Fifth Avenue, opposite St. Patrick’s Cathedral. The lens was aimed at the filing out. When this was over the operator aimed his machine at the sidewalk near the bus on the west side of the street and began to take of the parade in progress. The first few feet of films were good, but as soon as people saw they were getting into moving pictures they quit marching and stood at attention under the bull’s-eye of the camera. In a few minutes the whole block was jammed with persons struggling either to move on down the street or to supplant some one who was sticking to his position in the film with a pertinacity that bordered on selfishness. The congestion here lasted for more than half an hour and seriously blocked the parade.
“One woman with a camera who attracted a good deal of attention leaned from a window in the fifth floor of a private residence, studied the crowd patiently as if picking out the genuine Poirets and Paquins and snapped her camera at intervals. A battalion of photographers lined up along the Vanderbilt and Sloane residence on Fifth Avenue, at Fifty-first and Fifty-second Streets, some of them even establishing their base on the stairs and in the entrance to the Vanderbilt residence. Probably there were more than a thousand photographers out altogether. Amateur and professional and the paraders, as a rule, walked right into the cameras’ mouths without flinching visibly.”
The subtitle of the article reads: "Thousands of Visitors Out to See the Annual Spring Fashion Parade. Cameras Are Everywhere. Strong Desire of Many to Appear in Moving Pictures Blocks Traffic Near Cathedral." sensationalism fame celebrity celebrity culture photography cameras cameras, and sensationalism sensationalism, and cameras democracy motion pictures, and democracy democracy, and motion pictures motion pictures, and New York New York, and motion pictures photography and visual communication motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space audiences audiences, and motion pictures motion pictures, and audiences celebrity culture cameras, and celebrity celebrity, and cameras fame, and cameras cameras, and fame Fifth Avenue Gay with Easter Host 17850 Fifty Years -- Or More -- of Evolving Cinema Technique American Cinematographer
Jan., 1969
50 1 52-56, 106-07, 131, 144-46, 160-66 See filed under American Cinematographer (1969). This 1969 piece was part of an issue devoted to the past fifty years of cinema technology. This article gives an overview of developments in cinematography and serves as an introduction to other articles in this issue. color motion pictures and popular culture motion pictures motion pictures, and history of Fifty Years -- Or More -- of Evolving Cinema Technique 13920 Fight Comic Supplements. New Orleans Club Women Want Artistic Illustrations New York Times
Jan. 30, 1912
1 Women in New Orleans are upset by the comic pages in newspapers. censorship news and journalism censorship and ratings censorship, and comics censorship, and Sunday newspapers news, and entertainment women values values, and newspaper illustrations newspapers, and illustrations newspapers, and comics censorship news Fight Comic Supplements. New Orleans Club Women Want Artistic Illustrations 13970 Fight Films’ Ban Is Broad Chicago Daily Tribune
July 25, 1910
1 This article lists many crimes shown in movies that violate state laws. The article's subtitle reads: "Order by Chief Steward Also Embraces Art and Drama. Stirs Up a Buzz of ‘Ifs.’ Agree However Ruling Affects Merely Reno Encounter Views." Chicago, IL censorship motion pictures violence motion pictures, and violence violence, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings sensationalism motion pictures, and sensationalism sensationalism, and motion pictures violence, and sensationalism sensationalism, and motion pictures motion pictures, and Chicago Chicago, and motion pictures censorship, and Chicago Chicago, and movie censorship censorship, and violence violence, and censorship motion pictures, and crime censorship, and crime Fight Films’ Ban Is Broad 14790 Fight Pictures Are Taken East; ... Crime Due to Moving Pictures Chicago Daily Tribune
July 11, 1910
2 This article discusses the showing of the Jack Johnson-Jeffries heavyweight boxing match; it also reports that two 18-year-olds were arrested after trying to rob street car; they had just seen a movie -- a western -- about a train robbery. children Chicago, IL censorship actors acting actors acting motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising motion pictures, and Chicago Chicago, and motion pictures actors, and status of censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings violence violence, and motion pictures motion pictures, and violence motion pictures, and crime children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children values values, and movie theaters motion pictures, and crimes motion pictures, and violence motion pictures, and race race, and motion pictures violence, and motion pictures motion pictures, and sports motion pictures, and boxing violence advertising race Fight Pictures Are Taken East; ... Crime Due to Moving Pictures 13290 Fight Pictures Shown Chicago Daily Tribune
May 24, 1897
4 This article discusses the showing of the film of the Fitzsimmon-Corbett boxing match. The article's subtitle reads: "Opening Exhibition in New York Fairly Satisfactory. Crowd Watches the Flickering Show with Much Interest But Disputed Points in Regard to the Fight Are Left Unsettled Illustrations of the Knockout Blow and of Corbett’s Despair While Being Counted Out by Silver." sensationalism motion pictures, and sports motion pictures motion pictures, and boxing motion pictures, and race motion pictures, and violence violence, and motion pictures violence race race, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras Fight Pictures Shown 1020 Film Actors Thrive; Dyer Says Some Earn as Much as $500 a Week New York Times
Nov. 13, 1913
7 TThe salaries of movie actors are much higher than the pay given to stage performers. theater stage actors acting motion pictures theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and stage actors motion pictures, and salaries actors acting Film Actors Thrive; Dyer Says Some Earn as Much as $500 a Week 3270 The Film Artistry of D. W. Griffith and Billy Bitzer American Cinematographer
Jan. 1969
50 1 86-91 This 1969 article appeared in an issue devoted to the previous fifty years in the technology of cinema. This article notes, for example, that in 1898, William Randolph Hearst sent Gottlob Wilhelm "Billy" Bitzer to take motion pictures of the Spanish-American War in Cuba, but Bitzer failed "because he could find no way to transport his heavy camera equipment from the beacvhes to the inland areas where military operations were in progress." This failure led to the invention of the light, more portable Mutoscope camera, patened in July, 1899. R & D nationalism history nationalism Wilson, Woodrow radio wireless communication Wilson, Woodrow, administration presidents, and new media preservation motion pictures research and development war history, and new media history, and new media war non-USA motion pictures and popular culture motion pictures, history of Wilson, Woodrow, and motion pictures motion pictures, and D. W. Griffith motion pictures, and G. W. (Billy) Bitzer motion pictures, and early technology Spanish-American War, and motion pictures Hearst, William Randolph, and motion pictures cameras, and motion pictures motion pictures, and camera improvements nationalism and communication nationalism, and motion pictures history, and motion pictures motion pictures, and history military communication military, and motion pictures cameras, and Mutoscope camera motion pictures, and Mutoscope camera history cameras Hearst, William Randolph Spain The Film Artistry of D. W. Griffith and Billy Bitzer 16010 Film Batteries Wink and Things Do Move Los Angeles Times
March 12, 1911
1 This article discusses the advantages of Los Angeles for making movies. It also talks about the impact of movies on actors. Los Angeles actors acting actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences advertising and public relations motion pictures, and advertising advertising, and motion pictures motion pictures, and actors actors, and status of advertising Film Batteries Wink and Things Do Move 6800 Film Before Film Nekes, Werner New York Kino International Corp.
1989
This work is a video recording, produced by Kino International Corp. television, and history of television television, and origins Film Before Film 37980 Film Censorship New Statesman and Nation
March 8, 1952
43 1096 262-63 This article notes that Parliament has closed a loophole that exempted non-commercial 16mm film clubs from censorship relating to using inflammable film.
"Film censorship has never been popular. In fact, Parliament has never accepted it in principle, and it is still nominally a matter for local authorities who have added censorship clauses to the licenses they issue under an Act of 1909. But this Act was to make 'better provision for securing safety' and it has applied only to inflammable films. In this way, thousands of film societies, clubs and other non-commercial exhibitors, who use the 'non-flam' 16mm. film, have been exempt from control and censorship. Now that loophole is to be closed, unless the Government can be persuaded to amend the new Cinematograph Bill which had its second Reading in the House of Lords last week. The Bill has followed a private report to the Home Office from the Magistrates' Association, which pointed out that the need to-day was not to ensure physical safety -- 'Non-flam' is used in commercial cinemas now -- but 'to safeguard morals.'
"There are two aspects of the Bill which 16mm. users find particularly distasteful. It extends the 1909 Act in a way which would enable local authorities to refuse permission for a film society showing unless certain safety provisions are met -- and this seems scarcely necessary in view of the excellent safety record of 16mm. And the exemptions which were written into the Bill are quite inadequate to guarantee the independence of 16mm. users. An exhibition is to be exempt if it is private or free -- an ambiguous definition which does not deal with the problem of 'guest' tickets -- or if it is given by an organization which has a 'non-profit' certificate of exemption from Entertainments Tax. But this clause would make the liability to censorship 262/263 dependent, not on the Cinematograph Act, but on the Finance Act of 1946. At present, such exemptions are given to organizations which have a charitable purpose or are 'partly educational.' It would be open to future Chancellors arbitrarily to change that definition. It may be possible to secure amendments to these clauses when the Bill comes before the House of Commons, and we are glad to see that the National Council of Civil Liberties has convened a conference on March 8, at the Memorial Hall, at which users of 16mm. film can work out a common policy to defend themselves and their audiences from this renewed attempt -- the last was in 1934 -- to impose a censorship that could be crippling." censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology 16mm motion pictures, and 16mm film celluloid materials motion pictures, and fire hazards 16mm film, and fire hazard non-USA Great Britain Great Britain, and motion pictures Great Britain, and 16mm film Great Britain, and film censorship censorship, and 16mm film 16mm film, and censorship 16mm film Film Censorship 18460 Film Cleanup Drive Begun By New Dictator Of Morals [Joseph Breen] Cincinnati Enquirer
July 11, 1934
This article discusses Joseph Breen, who then began as head of the motion picture industry's Production Code Administration. A clipping of it is located in Folder: "Breen, Joseph, 1933-43," National Catholic Welfare Conference, Episcopal Committee on Motion Pictures, 1933-1944, Washington, D.C. self-regulation Production Code PCA values Christianity Christianity values Production Code (motion pictures) Production Code (motion pictures) religion values morality values religion religion law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and Legion of Decency motion pictures, and Catholic Church Christianity, and motion pictures motion pictures, and Christianity motion pictures, and morality morality, and motion pictures censorship, and Joseph Breen Production Code Administration (PCA) Production Code, and Joseph Breen censorship, and motion pictures Breen, Joseph Breen, Joseph, and PCA Film Cleanup Drive Begun By New Dictator Of Morals [Joseph Breen] 35510 Film Code Board to be Augmented: Ten Representatives Will Be Added to Motion Picture Production Appeal Unit New York Times
June 14, 1957
20 After the revision of the motion picture industry's Production Code in 1956, criticism remained that the appeals process was dominated by executives from the nine member studios of the MPAA and its president Eric Johnston. This article reports that Johnston doubled the size of the Appeals Board by adding exhibitors and producers who were not MPAA members. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and Appeals Board Film Code Board to be Augmented: Ten Representatives Will Be Added to Motion Picture Production Appeal Unit 35560 Film Code Study Set by Industry: Johnston to Head Inquiry of Self-Regulation System -- Wide Changes Foreseen New York Times
Jan. 25, 1956
26 This article explains that MPAA president Eric Johnston has appointed a committee to study revision the movie industry's Production Code. Among those appointed to this committee were Barney Balaban (Paramount), Abe Schneider (Columbia), Daniel O'Shea (RKO). The actual work of the committee (not mentioned in this article) was farmed out to a subcommittee chaired by Kenneth Clark and overseen by PCA director Geoffrey Shurlock. This article does not that the Loew's theaters and other large theater circuits had shown The Man with the Golden Arm (1956), a movie about drug addiction, even though the PCA had banned it. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and Appeals Board Film Code Study Set by Industry: Johnston to Head Inquiry of Self-Regulation System -- Wide Changes Foreseen 13720 Film Company Gets Criterion Theatre … Special Performance Shortly of Dramatization of Rockefeller White Slavery Report New York Times
Nov. 3, 1913
9 An account of the Rockefeller Report on White Slavery. It mentions such films as Traffic in Souls (1913). prostitution children censorship photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures white slavery, and motion pictures motion pictures, and white slavery prostitution, and motion pictures motion pictures, and prostitution advertising Film Company Gets Criterion Theatre … Special Performance Shortly of Dramatization of Rockefeller White Slavery Report 18040 Film Daily Yearbook New York MPAA
1959
Michael Conant, in Antitrust in the Motion Picture Industry, cited a study in the Film Daily Yearbook showing that four-wall theaters declined between 1946 and 1956, but that when drive-ins were included the total number of theaters during this period remained constant. audiences theaters motion pictures and popular culture motion pictures motion pictures, and theaters Film Daily Yearbook 16510 Film Daily Yearbook of Motion Pictures New York The Film Daily
1968
Used in Jack's Lyle's entry in Robert K. Baker and Sandra J. Ball's Mass Media and Violence: Vol. IX: A Report to the National Commission on the Causes and Prevention of Violence (1969), noting that by 1967 only 39 percent of the 462 feature films released in the U. S. were produced in America. social science research media effects media violence non-USA motion pictures and popular culture motion pictures motion pictures, and violence social science research, and violence violence violence, and motion pictures violence, and social science research National Commission on Causes and Prevention of Violence motion pictures, and foreign films foreign films motion pictures, and U.S. films made abroad Film Daily Yearbook of Motion Pictures 17600 The Film Finds Its Voice American Cinematographer
Jan. 1969
50 1 84-85 See filed under American Cinematographer (1969). This 1969 piece was part of an issue devoted to the previous fifty years in the technology of cinema. This article gives a brief history of sound in motion pictures. "Through the years, the art of sound recording improved, but only incremental changes were made in the equipment until the advent of magnet recording during 1947 and 1948." magnetic recording materials materials magnetic tape sound recording motion pictures and popular culture motion pictures motion pictures, and sound recording cameras, and sound recording sound recording, and motion pictures sound recording, and cameras cameras, portable sound recording, and portable sound recording, and magnetic tape magnetic sound recording, and motion pictures motion pictures, and magnetic sound recording cameras The Film Finds Its Voice 34960 Film Heads Pledge Reform in Exports New York Times
Dec. 21, 1946
13 This article discusses hearings before the subcommittee on foreign trade and shipping of the Special Committee on Post-War Economic Policy and Planning in the U. S. House of Representatives. Eric Johnston offered testimony for the Motion Picture Association of America, and he and others pledge to screen more carefully films sent abroad so that they did not reflect badly on the United States. Officials cited in this story comment on the fact that the Soviet Union was sending out blatant propaganda films, but that at that time, U. S. officials did not want to impose restrictions on Soviet films, even though the USSR had imposed restriction on American commercial movies. Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects capitalism capitalism, and motion pictures motion pictures, and capitalism Film Heads Pledge Reform in Exports 37900 The Film in Politics The Independent
Sept. 18, 1916
87 3537 402 This article notes that cinema has become an "international language" and that several countries -- Great Britain, Australia, Canada -- "have protested against the corruption of their national ideals thru the influence of American-made films." The British are concerned that U. S. films are undermining their authority in India. "The British administration in India has been for some years concerned over the number of young Hindus who prefer to go to America for study instead of England, but these are few compared with the millions who may be infected with Americanism thru the film."
The author of this piece writes: "Let me make the films of a nation and I care not who makes its laws; this is the twentieth century form of the old aphorism.... Apparently the time will come when it may be said that the hand that turns the cinema rules the world." nationalism censorship motion pictures, and Americanization motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures critics critics, and motion pictures motion pictures, and critics Great Britain Australia Canada India Great Britain, and motion pictures motion pictures, and Great Britain Australia, and U.S. films Canada, and U. S. films India, and U. S. films Great Britain, and U. S. films motion pictures, and U.S. films abroad censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings media effects audiences, and media effects media effects, and audiences Americanism motion pictures, and Americanism Americanism, and motion pictures audiences The Film in Politics 15950 Film Makers’ New Industry Chicago Daily Tribune
Nov. 3, 1907
B 3 Chicago is at the center of movie making in 1907. Chicago, IL motion pictures capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Chicago Chicago, and motion pictures Film Makers’ New Industry 16040 Film-making Means Millions to Los Angeles Los Angeles Times
Jan. 1, 1916
III 66 The subtitle to the article says: "Enormous Expenditures. 20 producing companies spend more than $1 million a month in L.A.; employ 12,000 people." Los Angeles actors acting actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences advertising and public relations motion pictures, and advertising advertising, and motion pictures motion pictures, and actors actors, and status of capitalism capitalism, and motion pictures motion pictures, and capitalism advertising Film-making Means Millions to Los Angeles 14230 Film Shows Busy; Panic Stops One Chicago Daily Tribune
April 15, 1907
1 This article reports that “An incipient fire riot emptied one nickel theater yesterday.” The article's subtitle reads: "Nickel Theaters Replete in Crime Pictures, Lacking Fire Aid, Are Filled with Children. Bad Influences Shown. Investigation of Five Cent Playhouses Proves Corrupt Tendency of Performances on Young." children Chicago, IL motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire hazards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters electricity, as fire hazard audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and Chicago Chicago, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children Film Shows Busy; Panic Stops One 15780 Film Stars Tango and Gossip with 10,000 Happy Fans Chicago Daily Tribune
May 15, 1914
1 The subtitle of this article reads: "Favorites of Motion Picture World Lionized at Coliseum Ball. Crush Smashes Camera. Adulation of Crowd for Movie Actors and Actresses Reaches High Mark. Major Funkhauser Eyes Dancers." journalism fame celebrity actors acting magazines photography modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines fan magazines magazines, fan motion pictures, and stars motion pictures, and stars (origins) motion pictures Film Stars Tango and Gossip with 10,000 Happy Fans 1240 Film Train Wreck Almost a Tragedy Los Angeles Times
Sept. 28, 1914
13 This articles reports that 10,000 to 20,000 people watched as a movie company filmed a fake train wreck. The article's subtitle reads: "Four Players Nearly Drown After Engine and Cars Fall Forty Feet from Trestle. Train Plunges Too Far. 10,000 Mistake Actor’s Cries for Part of Drama Heavy Loss in Spoiled Film." sensationalism motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras special effects, and motion pictures special effects motion pictures, and special effects violence violence, and motion pictures motion pictures, and violence audiences motion pictures, and audiences audiences, and motion pictures Film Train Wreck Almost a Tragedy 37180 Filming Tiny-Tad Pictures with the Aid of a Microscope Current Opinion
March 1918
64 3 186-87 This article reports on a recent article in Scientific American by Austin C. Lescarboura on microphotography, and it subtitle reads: "Micro-Photoplays Are the Newest Things Recorded in the Rapid Development of Cinemaphotography." (186) It starts by saying that "A drop of water taken from a stagnant pond is rich in motion-picture possibilities," and notes that prior to World War I, this kind of cinematography was practically monopolized by the French. (186) "As the French have already proven, among other unique demonstrations, it is possible to show various disease germs and how they affect the human system. The circulation of the blood can be filmed along with other functions of the human body that in performance are invisible to the naked eye." (187) science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures science, and motion pictures motion pictures, and science France non-USA France, and motion pictures motion pictures, and France motion pictures, and microphotography medicine, and motion pictures motion pictures, and medicine Filming Tiny-Tad Pictures with the Aid of a Microscope 16020 Films Thrive Here on Quintuple Lines Los Angeles Times
Oct. 16, 1910
II 1, 9 This article talks about “every man with his own picture machine.” It costs about $225 and can be “purchased as readily as chalk or cheese.” (II, 9) The article also says that Los Angeles is predicted to be moving picture center of U. S. next year. It talks about the rise of privately owned film companies (p. 9), and also French films in U. S. The subtitle to the article reads: "Moving Picture Enterprises Develop Rapidly Along Educational, News, Advertising, Private and Theatrical Ways. Headed for Los Angeles." theater stage Los Angeles journalism home magazines motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences advertising and public relations motion pictures, and advertising advertising, and motion pictures motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines news and journalism education education, and motion pictures motion pictures, and education electricity, and motion pictures motion pictures, and electricity electricity motion pictures, and automobiles automobiles, and motion pictures motion pictures, and rural areas democracy motion pictures, and democracy democracy, and motion pictures home and new media motion pictures, and home home, and motion pictures theater and stage motion pictures, and stage stage, and motion pictures cameras cameras, and home entertainment cameras, portable France France, and motion pictures motion pictures, and France motion pictures, and French films in U.S. motion pictures, and Los Angeles Los Angeles, and motion pictures Pathé advertising automobiles Films Thrive Here on Quintuple Lines 14930 Films Used to Stop Crime; Bertillon System Workings Are Shown by Moving Pictures Chicago Daily Tribune
Jan. 12, 1911
2 This article discusses using film to identify criminals and the Bertillon System. The subtitle to the articles reads: "Hope to Warn Children; Police Expect They Will See How Easy It Is to Be Detected." children Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Chicago Chicago and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children Films Used to Stop Crime; Bertillon System Workings Are Shown by Moving Pictures 14890 Find Evil Effects from Cinema Shows. English Investigators Believe Their Education Value Much Exaggerated New York Times
March 23, 1913
C 4 This article says that moving picture shows tend “to exert an evil influence on the young.” The subtitle of the article reads: "American Films Disliked. Characters Called ‘Inane’ and ‘Sticky’ Manchester Makes Regulations as to Children’s Admission." children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Great Britain Great Britain, and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures non-USA Great Britain motion pictures, and crime Find Evil Effects from Cinema Shows. English Investigators Believe Their Education Value Much Exaggerated 14210 Firemen Go Raiding the Picture Shows New York Times
Feb. 10, 1913
3 This article reports on movie theaters thought to be unsafe by fire officials. Part of the article subtitle reads: "Prisoners Charged with Maintaining a Nuisance -- 'Movies' Seemed to be in Communication." motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire hazards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard Firemen Go Raiding the Picture Shows 15110 First Photograph In Colors of a Living Woman to be Taken in America Chicago Daily Tribune
Jan. 5, 1908
A 8 This article discusses the first color photograph taken in America using the Lumiere process. “The Tribune today prints the first successful photograph in colors of a living woman to be taken in America. This remarkable photograph was taken on a Lumiere autochromen plate by Emmett V. O’Neill, staff photographer of The Sunday Tribune. The subject is Mrs. Edward T. Breitung in the wonderful gown in which she appeared as Madame La Pompadour in the Tableux Vivant.
“The autochrome plate of the Lumieres has made the taking of photographs in colors not only a possibility for professionals but it has given into the hands of even the amateur photographer the power to reproduce even the most delicate shades of color found in still life and in nature.
“The color photographic plate is the invention of the Lumiere Brothers of Lyons, France, and bears their name. It is not merely a scientific experiment, as the other color processes in photography have been. It does not involve the long and intricate processes the tedious hours or work in the dark room, the expert knowledge, the keen eye for color, the extravagant use of chemicals that other inventions for photographing color have demanded.” Until O’Neill’s photograph, “no color photograph had been taken in America by the Lumiere process.” (Mrs. Breitung was the wife of Edward Breitung of Marquette, Mich., a millionaire copper mine owner.) photography photography and visual communication photography, and color color, and photography color Lumiere process, and color photography color, and Lumiere process photography, and sexuality sexuality, and photography women women, and color photography photography, and women non-USA France France, and color photography France, and Lumiere process sexuality First Photograph In Colors of a Living Woman to be Taken in America 29900 The Five Best Photographed Motion Pictures of 1967 American Cinematographer
April, 1968
49 4 262-64 This articles discusses the Academy Award winners for Cinematography for 1967: Bonnie and Clyde, The Graduate, In Cold Blood (based on Truman Capote's novel), Doctor Dolittle, and Camelot. lenses, zoom transistors sex motion pictures, and sexuality sexuality cinematography cameras motion pictures motion pictures, and cameras cameras, and motion pictures zoom lenses cameras, and zoom lenses cameras, hand-held mobile cameras mobile cameras mobile cameras, transistorized transistors, and cameras cameras, and transistors movie, In Cold Blood motion pictures, and academy awards movie, The Graduate (1967) sexuality motion pictures, and sexuality sex scenes, and cameras cameras, and sex scenes (The Graduate) movie, Bonnie and Clyde cinematography color color, and motion pictures color, and sexuality sexuality, and color violence violence, and motion pictures motion pictures, and violence violence, and Bonnie and Clyde Bonnie and Clyde The Graduate (1967) In Cold Blood violence, and In Cold Blood lenses The Five Best Photographed Motion Pictures of 1967 14580 The Five Cent Theaters Chicago Daily Tribune
April 14, 1907
B 4 This article maintains that “The 5 cent theaters are great educators. Unfortunately the education they supply is not that of which the young people who are the main supporters of the 5 cent theaters are in need. They are worse than the cheap fiction which has long been a power for evil, by so much more as moving scenes in real life are more stimulating to the imagination than printed words. They are worse, too, because often the moving pictures shown are of scenes the description of which in a book would not be tolerated.” children Chicago, IL censorship words vs. images images vs. words motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Chicago Chicago and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children images vs. print education motion pictures, and education education, and motion pictures The Five Cent Theaters 14770 Five-Cent Theaters Schools of Crime Los Angeles Times
Dec. 21, 1906
II 1 This article quotes Chief of Police Kern as saying: "I do not propose to allow the moving picture theaters of this city to conduct schools of crime. That is what picture films showing robberies, theft and diamond nipping amount to. On account of the low price of admission, these shows are attended by young boys of an impressionable age. Some sort of city ordinance must be found to stop these exhibitions of crime."
The subtitle of the article reads: "Cheap Moving Pictures Appeal to Boys' Wrong Side, and Chief of Police Says They Must Be Stopped. How They Operate."
Next to this article on the same pages ia an article "Making Crooks," by Fred R. Bechdolt. Los Angeles children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Los Angeles Los Angeles, and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and class Five-Cent Theaters Schools of Crime 6380 Five Dollar Movies Prophesied New York Times
March 28, 1915
SM 16 The article's subtitle is: "D. W. Griffith Says They Are Sure to Come with the Remarkable Advance in Film Productions." D. W. Griffith when asked if he was going to do away with words in his films responded that on the contrary that more attention than ever is given to words used and that in one of his films he put on the screen more than 7,000 words (four pages) from Woodrow Wilson’s History of the United States. Article says that Griffith’s annual salary was $100,000. history words vs. images photography presidents and new media photography and visual communication motion pictures Wilson, Woodrow Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words Five Dollar Movies Prophesied 1160 Freakish ‘Movie’ Posters. A Riot of Strange Art Advertises the Pictures at the 5-Cent Theatres New York Times
May 25, 1913
X 4 According to this piece, “Moving picture posters powerfully reinforce the attraction of moving pictures for their peculiar public and casual pedestrians who are not remotely interested in moving pictures stop to marvel at the amazing posters which simply obliterate every other feature of the surrounding neighborhood. Often the posters are atrocious in every detail that goes to form the subject and execution of a picture. There need no school of new art to challenge the world by means of sensation in line and color. Moving picture posters are postier than post art of any nomenclature whatsoever.” This article is a reprint of the article "Gaudy Posters Lure to 'Movies,' published in the Chicago Daily Tribune, May 4, 1913, p. B 4. children censorship photography advertising and public relations motion pictures advertising advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures violence motion pictures, and violence violence, and motion pictures violence, and advertising advertising, and violence posters, and motion pictures motion pictures, and posters censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and movie posters children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children theaters motion pictures, and theaters theaters, and motion pictures theaters, and movie advertising theaters, and posters posters, and theaters advertising, and movie theaters theaters motion pictures, and theaters theaters, and motion pictures advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity color color, and movies posters advertising, and color color, and advertising posters Freakish ‘Movie’ Posters. A Riot of Strange Art Advertises the Pictures at the 5-Cent Theatres 16120 Freedman v. Maryland. 380 U. S. 51 (1966) 1966 In Freedman v. Maryland, and exhibitor, Freedman, had shown Revenge at Daybreak (France, 1954; U.S., 1964) without obtaining a license from the Maryland censorship board. Although the board did not consider the film obscene, Freedman was convicted of violating state law. The Supreme Court overturned his conviction saying that the burden of proof for obscenity rested with the censor. The latter had to assure the exhibitor that the film would be proscribed or allowed to be shown within a brief, specified time, and that any judicial decision would be promptly delivered. Henceforth, any state law that tried to limit pornographic films had to satisfy the requirements set out in this case or be guilty of illegal prior restraint. U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom Freedman case court cases, and Freedman obscenity, and Supreme Court (U. S.), and Freedman case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Freedman case movie, Revenge at Daybreak censorship, and states Freedman v. Maryland. 38320 Freedom of Speech and Boards of Censors for Motion Picture Shows Central Law Journal
April 23, 1915
80 17 307-08 This rather poorly written article explains the judicial reasoning justifying the censorship of moving pictures. It says it is "startling ... in its novelty" the "claim .. made for freedom of speech in the product of a mechanical device on a curtain in a motion-picture theater." (307) It discusses the displaying of "personality" by a machine and quotes U. S. Supreme Court Justice McKenna on the difference between books and writings, and motion pictures. McKenna said (quoting him) that moving pictures "may be mediums of thought, but so are many things. So is the theater, the circus and all other shows and spectacles." (307) McKenna says that "common sense" does not support granting movies protection as a form of free speech. Films may be entertaining but (perhaps quoting McKenna) they are "capable of evil, having power for it, and greater because of their attractiveness and manner of exhibition." (307)
This article notes that like one who writes books, the maker of films may also encourage "obscenity, anarchy or revolution," but unlike the writer who appeals to the intellect, the film maker "produces something for the other senses than the intellectual sense, which the state in the interest of decency, order and government may regulate or suppress." (308) Thus, it is justifiable that "the state ... appoint its administrative boards and give them large discretion to the end of obtaining results which are the aim of legislation, but not in said boards legislation itself." (308) The article goes on to say that "it ought to be that a film to be sold for exhibition ought to be deemed as much in the mass of local property as a barrel of whiskey or a sack of flour in the hands of a local merchant ...." (308) censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings law law, and motion pictures motion pictures, and law laws, and movie censorship censorship, and Mutual case censorship, and U.S. Supreme Court critics critics, and motion pictures Freedom of Speech and Boards of Censors for Motion Picture Shows 13680 The French Novel and the American Public New York Times
Sept. 28, 1907
BR584 This article notes that “there is observable in recent publications in England and America a disposition to enter the field of the French novel…. There have lately appeared, and have been published in this country, several English novels, which, it appears to us, no clean-minded man or woman can read without loathing. This condemnation involves no assertion that fiction must close its eyes to a single fact of human existence…. To present pornography and perversity as a picture of the whole of life is to set up in the stead of sober art a monstrous and hideous caricature.
“It isn’t, therefore, in the interest of morality especially that a stand should be made against the surrender of the Anglo-Saxon for the French idea of the novel it is in the interest of sound art. By all means let us emancipate ourselves from the silly prudishness which has wrought the literary neglect of the fact that the world is peopled by men and women, but by equal means let us keep our senses and refuse to allow the erotic to shatter the rounded integrity of true art.” stage nationalism eroticism censorship motion pictures censorship censorship, and literature literature, and censorship censorship and ratings sexuality literature, and sexuality sexuality, and French novels nationalism and communication motion pictures, and nationalism nationalism, and motion pictures non-USA France motion pictures, and French influence stage and theaters, and French influence France, and novels in U.S. religion religion, and motion pictures motion pictures, and religion non-USA non-USA, and French novels values immorality values, and French novels Great Britain immorality, and French novels French novels, in U.S. Great Britain, and French novels eroticism, and French novels literature The French Novel and the American Public 35340 Freud (aka The Secret Passion) John Huston Universal Pictures Co., Inc.
1962
By 1961 there were several movies in production in which homosexuality was a major theme, even though the movie industry's Production Code forbade this topic. These films included Otto Preminger’s Advise and Consent (Columbia, 1962), John Huston’s Freud (Universal, 1962), United Artists’ The Best Man (1964), starring Henry Fonda, United Artists’ The Children’s Hour (1961), and The Devil's Advocate.
Montgomery Clift played Sigmund Freud in this film.
Summary from American Film Institute Catalog: "In 1885, 30-year-old neurologist Dr. Sigmund Freud quarrels with his superior, Professor Theodore Meynert, over the nature of hysteria and takes a leave of absence from the Vienna General Hospital. In Paris, he studies under Professor Charcot, a pioneer in the use of hypnosis to demonstrate that disease can be mentally induced. Following his marriage to Martha Bernays, Freud becomes the protégé of Dr. Joseph Breuer, another advocate of hypnotism, and together they treat Cecily Koertner, a semi-paralyzed young woman who also suffers from insomnia and impaired vision. As a result of his sessions with both Cecily and Carl von Schlosser, a young man who assaulted his father because of an incestuous love for his mother, Freud determines that all neuroses stem from repressed sexuality. His revolutionary theory, partially based upon his own childhood recollections, offends the entire medical profession, including Breuer. Nevertheless, Freud continues experimenting with Cecily and eventually drops hypnosis in favor of a new technique, "free association," in which he is able to analyze her dreams and interpret the meaning of chance remarks she makes during their conversations. As Cecily's mental health gradually improves, Freud develops his theory of the Oedipus complex and delivers a lecture on the subject; his colleagues react with derisive shouts, but psychoanalysis is born."

 Filmed in England. Also known as The Secret Passion. censorship self-regulation motion pictures, and sexuality sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality Huston, John Production Code, and John Huston Huston, John, and Production Code motion pictures, hybrid motion pictures, American-interest motion pictures, and American-interest films Freud (aka The Secret Passion) 6500 From Behind the Screen New York Times
Oct. 12, 1919
45 The author of this article is reviewing a book by Austin C. Lescarboura entitled Behind the Motion Picture Screen (Scientific American Publishing Co.). He quotes Lescarboura saying of Edison’s view of movies and teaching history:
“‘It was Edison, if our memory serves us correctly, who once said that he could teach more history in fifteen minutes by means of motion pictures than could ever be learned from any book. That statement is precisely true.’
“The writer believes in the great capacity of the screen to teach history, but ‘more history in fifteen minutes’ than can ‘ever be learned from any book’? Precisely true? Precisely absurd.” history motion pictures motion pictures, and new art form Edison, Thomas motion pictures, and Thomas Edison Edison, Thomas, and motion pictures history, and Thomas Edison Edison, Thomas, and history history and new media motion pictures, and history history, and motion pictures education motion pictures, and education education, and motion pictures From Behind the Screen 20200 Funny Thing Happened Newsweek
Sept. 17, 1962
58 58 This piece discusses Richard Heffner and public television. Heffner, who described himself as a Jeffersonian liberal, later became head of the motion picture industry Classification and Rating Administration. values education community democracy motion pictures and popular culture motion pictures television Heffner, Richard television, and education Heffner, Richard, and television Heffner, Richard, and TV and education television, and values values, and television Heffner, Richard, and values democracy, and Richard Heffner Heffner, Richard, and democracy Heffner, Richard, and public television democracy, and television television, and democracy education, and television values Funny Thing Happened 1140 Gaudy Posters Lure to ‘Movies’ Chicago Daily Tribune
May 4, 1913
B 4 This article says that “Moving picture posters powerfully reinforce the attraction of moving pictures for their peculiar public and casual pedestrians who are not remotely interested in moving pictures stop to marvel at the amazing posters which simply obliterate every other feature of the surrounding neighborhood. Often the posters are atrocious in every detail that goes to form the subject and execution of a picture. There need no school of new art to challenge the world by means of sensation in line and color. Moving picture posters are postier than post art of any nomenclature whatsoever.”
The article notes that the “underworld is a favorite theme of the moving picture poster.” Poster different from the content of the film; sensationalizes sex and infidelity. The article gives examples of suggestive phrasing.
This article also appeared in the New York Times, May 25, 1913, p. X 4, under the title "Freak 'Movie' Posters: A Riot of Strange Art Advertises the Pictures at the 5-Cent Theatres." children Chicago, IL censorship photography advertising and public relations motion pictures advertising advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures violence motion pictures, and violence violence, and motion pictures violence, and advertising advertising, and violence posters, and motion pictures motion pictures, and posters censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and movie posters children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children theaters motion pictures, and theaters theaters, and motion pictures theaters, and movie advertising theaters, and posters posters, and theaters advertising, and movie theaters motion pictures, and Chicago Chicago, and motion pictures color color, and movie posters color, and advertising advertising, and color color, and circus posters color, and posters posters Gaudy Posters Lure to ‘Movies’ 16030 Gelling v. Texas. 157 Tex. Crim. 516, 247 S. W. 2d 95 (1952), rev'd per curiam, 343 U. S. 960 (1952) 1952 This case, decided after the Miracle case, further weakened motion picture censorship as the Court rejected the rationale that a movie could be suppressed as "prejudicial to the best interests of the people." U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives values religion law censorship and ratings censorship law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases court cases, Gelling case court cases, Production Code, and decline of Production Code, and Supreme Court (U. S.) court cases, and Production Code Gelling v. Texas. 35000 Gentleman's Agreement Elia Kazan 20th Century Fox Film Corp.
1948
The best-selling novel Gentleman's Agreement , on which Darryl Zanuck's movies about anti-Semitism was based, was serialized first in Cosmopolitan (Nov 1946--Feb 1947) before it appeared in book form. censorship and ratings motion pictures motion pictures, and reform Hollywood Ten motion pictures, and anti-Semitism Hollywood Gentleman's Agreement 29370 The Getaway Sam Peckinpah Warner Bros. / Warner Home Video
1972
motion pictures and popular culture sexuality Meese Commission, and motion pictures women motion pictures, and women pornography, and motion pictures women, and motion pictures values media effects Meese Commission, and media effects motion pictures Meese Commission pornography The Getaway 950 Giants at Dinner See a Camera Game New York Times
Oct. 29, 1911
13 The New York Giants baseball team watched moving pictures of the World Series from that fall. The article's subtitle says: "Moving Pictures of the World’s Series Thrown on a Screen at the Imperial. Everything Was Baseball." celebrity celebrity culture motion pictures, and sports motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and baseball baseball, and motion pictures Giants at Dinner See a Camera Game 17000 Ginsberg v. New York. 390 U. S. 629 (1968) 1968 Between the Roth decision in 1957 and 1968, the year of Ginsberg v. New York, the U. S. Supreme Court in the thirteen obscenity cases rendered no less than fifty-five separate opinions. “The upshot of all this divergence in viewpoint,” Justice John M. Harlan wrote in the Ginsberg case, “is that anyone who undertakes to examine the Court’s decision since Roth which have held particular material obscene or not obscene would find himself in utter bewilderment.” U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity Ginsberg v. New York values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom court cases, and harmful Ginsberg case court cases, and Ginsberg obscenity, and Supreme Court (U. S.), and Ginsberg case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Ginsberg case Ginsberg v. New York. 16750 Ginzberg v. New York. 383 U. S. 463 (1966) 1966 This case was one of several during the late 1950s and 1960s involving obscenity. U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity Ginsberg v. New York values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom court cases, and harmful Ginsberg case court cases, and Ginsberg obscenity, and Supreme Court (U. S.), and Ginsberg case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Ginsberg case Ginzberg v. New York. 13990 Girls Protest to Film Makers New York Times
March 25, 1913
5 About 3,000 stenographers protested movies showing them “as chewers of gum and wearers of ‘rats.’” censorship censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and crime women women, and motion pictures motion pictures, and women motion pictures Girls Protest to Film Makers 13890 Gleason Dooms ‘Movie’ Signs Chicago Daily Tribune
Feb. 17, 1914
11 Movie posters without permits must be removed from Chicago theaters. Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures censorship, and movie advertising advertising, and censorship motion pictures, and Chicago Chicago, and motion pictures posters, and motion pictures motion pictures, and posters advertising, and posters advertising, and sexuality sexuality sexuality, and movie advertising sensationalism, and sexuality sexuality, and sensationalism advertising posters Gleason Dooms ‘Movie’ Signs 34980 The Grapes of Wrath John Ford 20th Century Fox Film Corp.
1940
This movie was based on the novel The Grapes of Wrath by John Steinbeck (New York, 1939). Eric Johnston sometimes cited it as an example of how a film that was critical of American life and used by communist countries often backfired. "Even the tramps have cars" in America, C. L. Sulzberger reported in the New York Times. nationalism censorship and ratings motion pictures motion pictures, and reform motion pictures, and foreign policy propaganda Johnston, Eric capitalism motion pictures, and capitalism Johnston, Eric, and Grape of Wrath motion pictures, and propaganda nationalism and communication motion pictures, and nationalism The Grapes of Wrath 6590 The Great Sensation This Season: The Cinema at Home The Times [London]
Dec. 5, 1912
11 This is an advertisement for the Pathéscope and home movies.
 illustrations home home history electricity motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment motion pictures, and Pathéscope modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison education motion pictures, and education education, and motion pictures home, and electricity electricity, and home electricity, and home entertainment motion pictures, home Pathéscope illustrations illustrations, and home entertainment illustrations, and home movies home entertainment, and illustrations The Great Sensation This Season: The Cinema at Home 250 The Growing Fascination of the Film Play Current Opinion
Sept. 1914
LVII 3 176-78 (APS Online) This article discusses the growing influence of motion pictures and the growing relationship between the movies and newspapers and advertising. "We reproduce half a page from a single newspaper in Chicago in which almost four hundred cinema 'first nights' are announced for one day! The movie, for better or worse, is growing to be one of the greatest influences in our national life." (176) Part of the popularity of movies is traced to "a feasible and accessible revolt against drawing-room drama...." (176)
The articles points to criticism that "everything in the motion picture ... is sacrificed to attention." Even the story of the birth of Christ is filmed with a "bacchanalian feast" and "highway robbery." (178) The article suggests, though, that the problems of movies will "eventually solve itself, without censorship." (178) journalism censorship advertising and public relations motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures religion religion, and motion pictures motion pictures, and religion advertising advertising, and motion pictures motion pictures, and advertising censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings The Growing Fascination of the Film Play 37680 The Growth of the Drama Living Age
Oct. 22, 1910
267 3459 239-43 This article reviews volumes V and VI of the Cambridge History of English Literature, edited by A. W. Ward and A. R. Waller. It notes that one chapter is devoted to "Puritan Attack Upon the Stage." (243) theaters stars (actors) theater fame celebrity anti-theatrical bias critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality women women, and theater theater, and women critics critics, and actors critics, and theater critics, and professional acting theater, and Puritan attack Puritans, and stage censorship audiences The Growth of the Drama 37610 The Growth of the 'Movies' Outlook
June 14, 1913
104 7 348 This article says that each day five million visit the 20,000 theaters in the United States. The movie industry employs about a half million people and as an industry ranks with copper, tin, iron, petroleum, coal, and furniture. "Perhaps an even more striking comparison is with the printing and publishing business, which is one of the oldest and most widely distributed of all industries. Motion pictures utilize more than a third as much capital as is used by that great business." Only the automobile industry has shown such amazing growth in recent years.
The movies are potentially a powerful educational tool and "a new weapon in the hands of social reformers and sanitary engineers."
The article ends by quoting a excerpt from the National Board of Censorship which reads in part:
"'The motion picture is a form of book, a form of art museum, a method of propaganda, and a method of scientific instruction. It is more economical, being a labor saving device, than any other available form of public instruction. It appeals to the interests, where a book may only appeal to the abstract faculties of the mind. Before many years have passed, the motion picture will have created somewhat of a revolution in methods of public school instruction.
"'Even from the standpoint of moral regulation, it is likely that more can be accomplished ultimately through a large development of the educational film than through any conceivable censorship.... If motion pictures became extensively used in churches, schools, and social centers, a new motion picture audience would be created and a new standard of taste would quickly ensue.'" theater stage history censorship words vs. images images vs. words motion pictures theaters motion pictures, and theaters theaters, and motion pictures audiences censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing education motion pictures, and education education, and motion pictures images vs. print capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, as books motion pictures, as museums motion pictures, as propaganda propaganda propaganda, and motion pictures motion pictures, and propaganda nationalism and communication audiences, and motion pictures motion pictures, and audiences transportation motion pictures, and automobiles automobiles, and motion pictures history and new media motion pictures, and history history, and motion pictures National Board of Censorship motion pictures, and social reformers theater and stage motion pictures, and stage stage, and motion pictures metaphors automobiles nationalism The Growth of the 'Movies' 16640 Hannegan v. Esquire. 327 U. S. 146 (1946) 1946 In a case that had implications for Hollywood publicity, the Supreme Court in 1946 narrowed the federal government’s power to regulate sexual images in magazines when it unanimously overturned the postmaster general’s decision in 1943 to deny mailing privileges to Esquire on the grounds that it included cartoons, pictures, and other sexual material that reflected a “smoking-room type of humor.” Written by Justice William O. Douglas, the decision contributed to proliferation of so-called girlie publications. U. S. Supreme Court self-regulation Production Code Esquire magazine Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity news and journalism books, periodicals, newspapers values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom Esquire case court cases, and Esquire obscenity, and Supreme Court (U. S.), and Esquire case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Esquire case magazines magazines, and obscenity obscenity, and magazines cartoons, and obscenity obscenity, and cartoons cartoons Hannegan v. Esquire. 35500 Happy Anniversay (aka Anniversary Waltz) David Miller United Artists
1959
This movie, a comedy starring David Niven, Mitzi Gaynor, and Carl Reiner, was originally rejected for a Production Code Administration seal because it deal with pre-martial sex. In the first appeal after the MPAA's Appeal Board had increased in size by Eric Johnston (added independent producers and directors), the PCA's ban was overturned after a line of dialogue adding compensating moral values was inserted into the movie. Based on the play Anniversary Waltz by Joseph Fields and Jerome Chodorov (New York, 7 Apr 1954).
Plot summary from American Film Institute Catalogue: "In New York City, Chris Walters comes home from work early to surprise his wife Alice on their thirteenth wedding anniversary. Alice is taken aback, then pleased when Chris presents her with a diamond broach, but the couple's efforts to share their affection is interrupted by a phone call from Alice's mother, the arrival of the Walters' children, Okkie and Debbie, and inquiries from the maid, Millie. Chris is further frustrated when delivery men arrive baring a television set, a gift from Alice's parents, Lilly and Arthur Gans. Believing that the inane quality of television programming destroys family life, Chris adamantly refuses to accept the set, despite the children's and Alice's pleas. Later, when Alice frets about Chris's explosive temper, he apologizes and agrees to keep the set, then suggests they need to get away for time alone together. Recalling their courtship days, Chris and Alice decide to sneak out of the apartment and dine at their favorite diner, then go to the hotel they used to visit. Later that evening, as the Walters arrive back to the apartment, Okkie notes their return wryly. That night at the El Morocco club, Chris's partner Bud dines with potential client Jeanette Revere, who, being a four time divorcee, is amazed to hear of Alice and Chris's anniversary. Late the next afternoon, Arthur and Lilly arrive early for the celebratory anniversary dinner party. Upon seeing the television set, Arthur chastises Chris for holding out against one for so long. That evening as the families dine together at the party, Lilly frets over Arthur drinking and Chris grouses at the children for having the television on loudly. Arthur continues to wonder how Chris can hate television and Chris admits that he and his father-in-law have had a long history of disagreements. When Chris wonders why Arthur allowed Alice to date him, Arthur declares he always trusted Alice to do the right thing. Slightly drunk, Chris then offers a toast to the year before the couple were married, declaring they had none of marriage's responsibilities and all of the fun. Startled, the Ganses demand an explanation and despite Alice's efforts to interrupt, Chris gaily admits that he and Alice carried on romantically the entire year before their marriage. Incensed at having been made fools for believing in Alice's pre-marital innocence, the Ganses depart in an angry huff. Alice berates Chris and refuses to accept his half-hearted apology. When Alice turns on the television in an attempt to ignore her husband, he furiously kicks in the screen. The next morning over breakfast, Chris tells Millie that he was forced to sleep on the sofa all night and bemoans the difference that marriage and children make to a relationship. Bud arrives to excitedly reveal that Jeanette has agreed to sign with their firm, but Chris is uninterested in work. Bud is startled to see the wrecked television and mistaking Chris's moodiness for a hangover, cheerfully declares he will handle the new account. Chris then pleads for forgiveness from Alice, vowing to personally apologize to Arthur and Lilly. Alice accepts Chris's invitation to lunch at Rockefeller Center, but once there, wonders aloud if their marriage is in serious trouble. Chris admits that his volatile temper is largely responsible for their disagreements and promises to mend his ways. Upon arriving home later, the Walters are surprised to find a new television set with a note to Alice from Bud offering the set as a gift. Chris reacts angrily, but recalling his new promise, struggles to squelch his anger. Alice telephones her parents and Chris apologizes and invites the Gans to dinner. While waiting for Arthur and Lilly to arrive that evening, Chris plays chess with Okkie and wonders vaguely about Debbie's whereabouts. Alice then turns on the new set and after several grating advertisements, the show "Kids Council" comes on and the family is shocked to see Debbie petitioning a council of school children for assistance. To their horror, Debbie explains that her parents' constant bickering has steadily increased and she fears they may be considering divorce. While Alice and Chris frantically attempt to telephone the station to stop the show, the council members request more information on the arguments. When Debbie blithely declares that their latest angry row occurred over pre-marital relations, the show abruptly cuts off. Apoplectic, Chris kicks in the television screen. As Alice and Chris burst into a furious argument at who is responsible for Debbie's breech, Bud and Jeanette arrive to celebrate her signing with their firm. Moments later, Arthur and Lilly arrive, adding to the chaos. Bud and Arthur are stunned about the ruined television, which only further antagonizes Chris. Just then, Debbie arrives home, delightedly waving a hundred dollar bond given her by the television show's company. Chris demands to punish Debbie, but fearful, Alice intervenes, supported by Arthur and Lilly. Outraged, Chris stalks out of the apartment. Over the next two days, Bud attempts to convince the angry Chris to return home, as Alice struggles to make explanations to Debbie and Okkie. Late one afternoon, Lilly shows up at the Walters' apartment with a suitcase, tearfully admitting she has left Arthur after subjugating herself to his ways for thirty-five years. Moments later, Arthur arrives, denying that he has driven his wife away. Bud then appears to relate that Chris is anxious to return and is, in fact, waiting outside to come in. Okkie and Debbie greet Chris effusively while Alice angrily declares that no one has taken her feelings into consideration. To Chris's consternation, Alice begins packing to leave when the couple is interrupted by a phone call. Equally dismayed and delighted, Alice reveals that her doctor has just told her that she is pregnant. Uncertain what to do, Alice's doubts dissolve when a new television set, a gift from Chris, arrives.
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"Note: The film's working title was Anniversary Waltz. The opening credits feature an animated greeting card, the front of which lists the film title, which then opens up to list the credits interspersed with cartoon figures of a middle-aged couple and jokes about married life. The closing credits feature the couple arriving in a cab at the Earle Hotel, where the husband and wife in the film conduct their romantic rendezvous. Hallmark Cards designed the title sequence. Makeup artist Herman Buchman's name is misspelled as "Buckman" in the opening credits. [H]Happy Anniversary was shot on location in New York City. The film was based on the 1954 play Anniversary Waltz, by Joseph Fields and Jerome Chodorov, the Broadway run of which starred MacDonald Carey and Kitty Carlisle and was directed by Carlisle's husband, Moss Hart. The Var review of the play noted that "...an unhappy minority might find it all pretty tasteless" and described the story as "a great night for tantrums." The HR review called the play's premiere "...an engagingly dark evening" and described the story as having a "certain busy prurience."
"In the file on the film in the MPAA/PCA Collection at the AMPAS Library, correspondence from Edward Small Productions in Sep 1954 reveals his company's interest in producing a film of the play. The PCA indicated that they could not approve of the property as "the story [was] unacceptable, being a light comedy treatment of the subject of illicit sex." In Oct and Nov 1955 Desilu Productions and Sidney Franklin of Allied Artists, respectively, showed interest in the property, and each was given the same indication that unless changes were made, the PCA could not approve a treatment.
"Throughout Jun and Aug 1956 George Schaeffer, representing Joseph Fields, corresponded with the PCA and its head, Geoffrey Shurlock, in an effort to overcome the play's narrative difficulties. A year later, Fields submitted several pages of a script, adapted by him and Chodorov, which were approved by the PCA. As the film began production in May 1959, a NYT article quoted Fields as stating that the play's joke of pre-marital sex had not been altered for the film and had, in fact, been accepted by the PCA. The article noted "a new frankness in situations and dialogue on the screen, which is being enforced by the unexpurgated production of such films as Anniversary Waltz."
"In Sep 1959, the PCA tentatively awarded a Production Code seal to the film, which had been renamed [H]Happy Anniversary. By late Oct, however, Shurlock wrote to Fields that after screening the picture he had found it in violation of the code and could not issue the certificate. Shurlock wrote "It is our unanimous judgment that the unacceptability of this picture stems from an improper treatment of the pre-marital sex relationships between your two sympathetic leads... this relationship is presented as both acceptable and glamourous [sic]." A HR 28 Oct 1959 article states that United Artists would release the film without the seal in the event that an appeal did not bring about a reversal of the PCA ruling.
" Only two previous studio films had been released without productions seals, The Moon Is Blue in 1953 and The Man with the Golden Arm in 1955 (see below), both Otto Preminger productions distributed by UA. The HR article notes that neither film suffered booking difficulties and each made money. UA announced that [H]Happy Anniversary would premiere in New York on 10 Nov and on 18 Nov in Los Angeles, regardless of the appeals board decision. On 6 Nov 1959, HR reported that UA had agreed to add a "wild line" of dialogue recorded by David Niven which, as stream of consciousness, would state "Chris's" regret for having taken "Alice" to a hotel before their marriage. The line is heard after the party, once Alice has angrily locked Chris out of the couple's bedroom. According to correspondence in the PCA file, this adjustment would provide the necessary "moral compensating value" and allow the certificate to be issued. An 11 Nov 1959 Var article noted that the original PCA press release indicated that this alteration made it unnecessary for the review board to vote on UA's appeal. The film's producers, however, indicated that the review board had overturned Shurlock's original decision, content with the addition of the wild line.
"The Var article went on to note that "what puzzles some observers is how the addition of a comparatively frivolous laugh line such as the one to be inserted into Anniversary [sic] can seriously provide 'moral compensation.' Or, for that matter, why the Code chose to pick on Anniversary in the first place. Several of the execs on the review board represent companies which turned out, or will be releasing, pictures of a much 'stronger' nature, with themes ranging from rape and homosexuality to juvenile sex orgies, brothels, nymphomania, prostitution, etc."
"Reviews of the film were mixed; the NYT lamented the "fuss" made by the PCA stating: "The consequence of this attention has been to give an illusion of substance to a conspicuously hollow little picture that is about as wicked as an adolescent's joke." The review further criticized the picture for presenting "supposedly adult characters... more childish and subnormal than its kids." Var, however, described the film as "chock full of laughs and suavely handled," and praised Mitzi Gaynor's singing of "I Don't Regret a Thing...." HR called the film "one of those effervescent comedies that sends everybody out of theatre feeling happier."

Source citations:

Variety 4 Nov 59, p. 6.
Motion Picture Herald Product Digest 7 Nov 59, p. 477.
Hollywood Reporter 30 Oct 59, p. 3.
New York Times 11 Nov 59, p. 41.
Film Daily 30 Oct 59, p. 6.
Daily Variety 30 Oct 59, p. 3.
Box Office 9 Nov 1959.
Hollywood Reporter 28 Oct 1959, p. 1, 4.
Variety 11 Nov 1959, p. 5, 20.
New York Times 25 Jan 1959.
New York Times 13 May 1959.
Hollywood Reporter 6 Nov 1959, p. 1, 3.

 self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and Appeals Board Happy Anniversary Happy Anniversay (aka Anniversary Waltz) 13230 Hard Work for the Machines New York Times
Dec. 26, 1911
8 Both the camera and the phonograph will be used to cover the 1912 political conventions. The article laments these media were available for earlier important events in the nation’s history. “Much can be done, nowadays, with the moving picture machine and the perfected phonograph.” However, there were still major limitations: “As for the phonograph, it can make nothing worth preserving of a Babel of sounds. A complete record, pictorial and vocal, seems out of the question. A charge of cavalry on a battlefield the moving picture man might catch, but never a wild stampede in a convention hall.” Taft, William Howard administration journalism history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph presidents and new media Taft, William Howard Taft, William Howard, and new media Taft, William Howard, and motion pictures Taft, William Howard, and phonograph historical preservation, and William Howard Taft motion pictures, and William Howard Taft Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and motion pictures Wilson, Woodrow Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson Wilson, Woodrow, and phonograph phonograph, and Woodrow Wilson phonograph, and William Howard Taft phonograph, and Theodore Roosevelt Wilson, Woodrow, and new media Roosevelt, Theodore, and new media news and journalism motion pictures, and journalism journalism, and motion pictures Hard Work for the Machines 19400 Harold A. Innis Papers This collection contains correspondence to and from Harold Innis as well as copies of his published and unpublished writings. There are also several taped interviews given by people who knew Innis. It is an important collection for scholars wishing to study is important Canadian historian and political economist. Innis's Papers are located at the University of Toronto Archives, University of Toronto, Toronto, Ont., Canada. nationalism time and timekeeping time print archives preservation materials cultural imperialism history, and new media history, and new media materials news and journalism non-USA history archives geography general studies nationalism and communication time space (spatial) imperialism Innis, Harold Tremayne, Mark cultural imperialism Egypt Rome Babylonia printing presses printing press paper parchment Greece McLuhan, Marshall history, break with history, and printing history, and newspapers newspapers, and history printing printing, and history newspapers history materials news Harold A. Innis Papers 13560 Harrison Reports
1920-1930
This publication has a good deal about the content of motion pictures. Payne Fund Studies author Edgar Dale used this publication for plot summaries of 500 feature films between 1920 and 1930 for his book The Content of Motion Pictures (1935). motion pictures and popular culture motion pictures motion pictures, and content 40360 Harvard Faculty Changes New York Times
July 2, 1922
5 This article reports that Leonard Troland has been appointed assistant professor at Harvard after serving six years as an instructor in psychology. Troland, Leonard Troland, Leonard, and Technicolor Troland, Leonard, and color color color, and Leonard Troland Harvard Faculty Changes 15090 Has a Plan to Photograph Colors Chicago Daily Tribune
April 7, 1894
7 The subtitle for this article says: "Edward Stigleman of Richmond, Ind., Claims to Have Perfected an Invention." photography photography and visual communication photography, and color color, and photography color Has a Plan to Photograph Colors 37600 Have You a Camera Face? If Not, Do You Ever Wonder Why? Current Opinion
April 1918
64 4 259-60 (APS Online) This article begins by saying that "It is said that out of one thousand girls in a given area, nine hundred have at one time or other secretly or openly craved prominence on the screen." And sometimes directors have hired inexperienced people because "a man or woman simply ... has a camera face." (259) Personality is often more important than beauty in explaining an actor or actress's appeal, personality that is expressed by the face.
"The essential requirement, of course, is to have features that photograph well. In every-day life, a little droop of the mouth or a peculiar angle to the eyebrows may add charm and character to a face, yet on the screen, we read, these lines may have the very opposite effect. As to eyes, certain shades of blue will not do at all, and we are told that as a rule black eyes photograph dull and lifeless. Brown eyes are better, while 'blue-green eyes, with a rim of yellow around the pupil, are best of all, as they retain their expression and animation.' Also 'black hair is not apt to photograph so well as brown, red and blond, tho much depends upon the shade and quality.'..." (260)
"...Thomas Ince, speaking for the producers, insists that 'the homely woman with character and lively intelligence has a better chance to become a photoplay star than the pretty, expressionless vacuum with neither,' and this shrewd producer points to the growing number of people seen on the screen who are barely good-looking, but 'who are able to run the gamut of human emotion by merely altering the expression' and who, by reason of the personality expressed in their faces, 'are rendered more than handsome and more than beautiful.' They are in greatest demand and, with few exceptions, draw the biggest salaries. Upon them to a large extent depend the great vogue of the movies." (260) (emphasis added) theater fame celebrity photography, and celebrity culture actors acting photography celebrity culture fame personality photography, and new art form motion pictures, and psychology theater and stage photography, and stage stage, and photography photography, and celebrity celebrity, and photography fame, and photography photography, and fame motion pictures, and stars audiences media effects photography, and audiences audiences, and photography sexuality photography, and sexuality sexuality, and photography modernity modernity, and motion pictures motion pictures, and modernity new way of seeing photography, and acting acting, and facial expression acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting women women, and beauty women, and cameras women, and acting acting, and women advertising and public relations photography, and public relations photography, and advertising photography, and advertising photography and visual communication Ince, Thomas, and motion pictures motion pictures, and Thomas Ince advertising motion pictures stage Have You a Camera Face? If Not, Do You Ever Wonder Why? 35810 Head of Film Code at House Hearing New York Times
Feb. 4, 1960
34 When grilled by U. S. House Post Office subcommittee in early 1960 about homosexuality references in a movie then being made based on Allen Drury’s 1959 novel Advise and Consent, Shurlock assured members: “That will come out. That will come out.” censorship self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and homosexuality censorship, and homosexuality children Head of Film Code at House Hearing 13370 Hearst Canned Speech Opened at Kinston New York Times
Oct. 30, 1906
A 3 This article relates to William Randolph Hearst's use of movies and the phonograph in his 1906 election campaign. The article's subtitle reads: "It’s Cold and Moving Picture Sauce Fails to Give Warmth. Vaudeville in Between. Lantern Slide Maker Causes the Crowd to Laugh by Twisting the Candidate’s Idea." politics history history historical preservation motion pictures history and new media motion pictures, and history history, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph history, and sound recording sound recording, and history politicians, and new media politicians, and motion pictures politicians, and phonograph Hearst, William Randolph Hearst, William Randolph, and motion pictures Hearst, William Randolph, and gramophones Hearst, William Randolph, and phonograph motion pictures, and William Randolph Hearst phonograph, and William Randolph Hearst Hearst Canned Speech Opened at Kinston 13360 Hearst Oratory for London. Music Hall Manager Sends Here for Phonograph Records New York Times
Oct. 18, 1906
1 This article relates to William Randolph Hearst's use of movies and the phonograph in his 1906 election campaign. politics history history historical preservation motion pictures history and new media motion pictures, and history history, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph history, and sound recording sound recording, and history politicians, and new media politicians, and motion pictures politicians, and phonograph Hearst, William Randolph Hearst, William Randolph, and motion pictures Hearst, William Randolph, and gramophones Hearst, William Randolph, and phonograph motion pictures, and William Randolph Hearst phonograph, and William Randolph Hearst Hearst Oratory for London. Music Hall Manager Sends Here for Phonograph Records 13350 Hearst Speech ‘Canned’ for Up-State Farmers New York Times
Oct. 10, 1906
1 This article discusses William Randolph Hearst's use of movies and the phonograph in his 1906 election campaign. The article's subtitle reads: "He Talks It and Gestures It Into Phonograph and Camera. A 12-Cylinder Harangue. The Absent-Treatment Candidate Will Be Projected in Sound and Shadow Before the Voters of the Remoter Regions." politics history history historical preservation motion pictures history and new media motion pictures, and history history, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph history, and sound recording sound recording, and history politicians, and new media politicians, and motion pictures politicians, and phonograph Hearst, William Randolph Hearst, William Randolph, and motion pictures Hearst, William Randolph, and gramophones Hearst, William Randolph, and phonograph motion pictures, and William Randolph Hearst phonograph, and William Randolph Hearst Hearst Speech ‘Canned’ for Up-State Farmers 510 'Heart of Russia'; Dr. De Kannet Lectures at the State Normal School Los Angeles Times
Jan. 24, 1899
14 In this lecture, Dr. De Kennet showed a moving picture taken in Russia. history motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel education motion pictures, and education education, and motion pictures 'Heart of Russia'; Dr. De Kannet Lectures at the State Normal School 20820 [Heffner to Study TV's Impact on Americans' Attitudes about Environment] New York Times
March 23, 1971
75 The study announced that the Ford Foundation will spend $240,000 for an intensive 18-month study of how network TV is affecting Americans attitudes toward the environment. The project will be under the direction of R. D. Heffner, former general manager of WNDT-TV. It will videotape 400 hours of programming on three networks. These studies are part of Heffner personal papers. Heffner was also a communications professor at Rutgers University and headed the motion picture industry's Classification and Rating Administration from 1974 to 1994. motion pictures and popular culture motion pictures motion pictures, and Richard Heffner Heffner, Richard, and background Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Heffner, Richard, and educational TV Heffner, Richard, and Am. opinion [Heffner to Study TV's Impact on Americans' Attitudes about Environment] 15900 Hewitt's Patent Granted New York Times
April 20, 1910
6 This article reports that "Peter Cooper Hewitt, inventor of the well-known mercury vapor electric lamp which bears his name, grandson of Peter Cooper, and son of the late Mayor Hewitt, has at last won a hard-fought legal battle which has been waged in the Patent Office and the United States courts for six years over the question of priority of invention of another electrical device, perhaps even more important than the lamp." That is "a remarkable static device for transforming alternating currents into direct currents." electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting modernity modernity, and motion pictures electricity, and modernity new way of seeing vacuum tubes vacuum tubes, and lighting lighting, and vacuum tubes Hewitt, Peter Cooper Hewitt, Peter Cooper, and patents electricity, and direct current electricity, and alternating current motion pictures Hewitt's Patent Granted 17860 Highlights of Lab History American Cinematographer
Jan., 1969
50 1 104-05, 167, 174-76 See filed under American Cinematographer (1969). This 1969 piece is part of an issue devoted to the previous fifty years in the technology of cinema. This article discusses major development in the processing of film. The article concludes by noting that the "probably the most singificant postwar [World War II] development occurred in 1962 with Bell & Howell's introduction of an automatic additive color printer. This type of equipment has done more to influence the control and quality of uniformity than any other single recent development." corporations corporations cinema motion pictures celluloid film color motion pictures and popular culture motion pictures motion pictures, and history of color motion pictures, and laboratories color, and motion picture labs Bell & Howell color, and Kodachrome film motion pictures, and Kodachrome film film, safety motion pictures, and safety film materials Highlights of Lab History 20370 Highlights of Opinion Research Corporation 1970 Survey on Code and Rating System Folder 1, This was an early study done for theater owners evaluating the new motion picture rating system. It is located in Box 5, Mss 1446, Records of the National Association of Theaters Owners (NATO), Special Collections and Manuscripts, Harold B. Lee Library, Brigham Young University, Provo, UT. classification audiences self-regulation National Association of Theatre Owners (NATO) CARA theaters National Association of Theatre Owners (NATO) theater owners censorship and ratings rating system (U.S.) rating systems (non-USA) rating system (U. S.) archives motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship archives NATO theaters censorship, and NATO NATO, and censorship NATO audiences, and motion pictures motion pictures, and audiences theaters, and motion pictures theaters audiences, and CARA audiences, and rating system (U. S.) rating system (U. S.), and audiences audiences Highlights of Opinion Research Corporation 1970 Survey on Code and Rating System 13150 Historical Statistics of the United States: Colonial Times to 1957 Washington, D. C. U. S. Department of Commerce
1961
1960 This important work has a great deal of information about Americans use of mass communication. References, Statistics, Timelines, Maps References, Statistics, Timelines, Maps archives statistics reference works Historical Statistics of the United States: Colonial Times to 1957 13410 Hoax in Color Line. Minstrel Plays Unique First Act Near White House Chicago Daily Tribune
May 20, 1904
1 This article reports that actors dressed as TR and negro make film next Capitol. “The story soon spread throughout the city and many people imagined the act was intended to put the president in an attitude of ‘overpoliteness’ to the negro, to emphasize the Booker Washington dinner incident for campaign purposes.” The article's subtitle reads: "Pal (?) Appears as Roosevelt. Plan to Grind Moving Pictures Believed Advertising Dodge." journalism history photography motion pictures history and new media motion pictures, and history history, and motion pictures Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and motion pictures motion pictures, and race race, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures presidents and new media photography and visual communication presidents and new media race racism Hoax in Color Line. Minstrel Plays Unique First Act Near White House 25270 Hollywood Film Makers Protest Rating System New York Times
July 21, 1990
1 14 This brief article discusses film makers' dissatisfaction with the motion picture rating system in the months before the movie industry abandoned the X-rating for a new category, NC-17. Prominent directors presented a petition to Jack Valenti. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation National Association of Theatre Owners (NATO) Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theater owners censorship and ratings rating system (U. S.) values NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Valenti, Jack, and NC-17 Valenti, Jack, and legal challenges theater owners, and rating system (U. S.) theater owners, and NC-17 MPAA, and NC-17 Coppola, Francis Ford Lee, Spike Reiner, Rob Pollack, Sydney values, and motion pictures values, and movie rating system (U. S.) values Heffner, Richard Hollywood Film Makers Protest Rating System 23690 Hollywood Reporter
1988
This important trade publication is informative about Hollywood personalities, studios, new media, and reactions to such movies in 1988 as The Last Temptation of Christ. values motion pictures First Amendment freedom motion pictures and popular culture Last Temptation of Christ (1988) First Amendment, and motion pictures motion pictures, and First Amendment religion Hollywood Reporter 19770 Hollywood: The First 100 Days Time
Sept. 2, 1966
88 10 38 This article discusses Jack Valenti, former assistant to President Lyndon B. Johnson and then the new president of the Motion Picture Association of America. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA self-regulation Production Code National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA values religion Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA Valenti, Jack, and Production Code (motion pictures) Production Code, and Jack Valenti Alfie, and Jack Valenti Valenti, Jack, and Alfie Who's Afraid of Virginia Woolf?, and Jack Valenti Valenti, Jack, and Who's Afraid of Virginia Woolf? Alfie Who's Afraid of Virginia Woolf? Hollywood: The First 100 Days 16690 Holmby Prod., Inc. v. Vaughn. 177 Kan 728, 282 P. 2d 412 (1955), rev'd per curiam, 350 U. S. 870 (1955) 1955 177 Kan 728, 282 P. 2d 412 (1955), rev'd per curiam, 350 U. S. 870 (1955) In this 1955 case, the U.S. Supreme Court struck down a Kansas state censors’ ruling that The Moon Is Blue was “obscene, indecent and immoral,” and tended “to debase or corrupt morals.” U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives religion values morality values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom court cases, and immoral morality, and motion pictures motion pictures, and morality Holmby Prod., Inc. v. Vaughn. 19220 Home Box Office, Inc., et al. v. Federal Communications Commission. 190 U. S. app. D. C. 351 (1978) 1978 In a case involving Home Box Office (HBO), a United States Court of Appeals held that the Federal Communications Commission had exceeded its authority when it attempted to limit the ability of cable systems to show certain kinds of movies and sporting events. The decision eliminated the Commission’s restrictions on pay TV’s use of feature-length movies. entertainment corporations corporations Federal Communications Commission (FCC) entertainment, home values archives sexuality obscenity home entertainment home Home Box Office (HBO) HBO regulation values community law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures television FCC, and television television, and FCC cable TV, and FCC FCC, and cable TV censorship, and motion pictures motion pictures, and censorship Court of Appeals, and motion pictures motion pictures and Court of Appeals court cases motion pictures, and freedom HBO case (1978) court cases, and HBO obscenity, and Court of Appeals Court of Appeals, and HBO case motion pictures, and obscenity obscenity, and motion pictures obscenity, and HBO case censorship, and community standards community standards, and censorship pornography pornography, and HBO case HBO case, and pornography pornography, and community standards, theaters motion pictures, and cable television television, and motion pictures FCC cable home, and new media Home Box Office, Inc., et al. v. Federal Communications Commission. 830 Hopkins' South Side Theater Chicago Daily Tribune
July 19, 1896
31 This article mentions that "Picture of a Kiss" was shown on vitascope. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences kinetoscope audiences motion pictures, and audiences audiences, and motion pictures motion pictures, and sexuality sexuality, and motion pictures sexuality Hopkins' South Side Theater 820 Hopkins’ South Side Theater Chicago Daily Tribune
June 28, 1896
36 This article is on what was shown on Edison’s Vitascope. See also Charles Musser's, Emergence of Cinema (p. 122) on the dates the Vitascope premiered in various cities. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences kinetoscope audiences motion pictures, and audiences audiences, and motion pictures Hopkins’ South Side Theater 15210 House of Lords: Coloured Moving Pictures: Validity of Patent The Times [London]
March 23, 1915
3 photography photography and visual communication photography, and color color, and photography color motion pictures color motion pictures, and color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA House of Lords: Coloured Moving Pictures: Validity of Patent 38530 How Newspaper Picture Are Made Scientific American
Feb. 14, 1891
64 7 101 This article, which first appeared in the Washington Star, discusses three methods used to illustrate newspapers. "The illustration of newspapers is a new branch of art," it says. The article explains how the three methods work. They methods are: 1) the "chalk method"; 2) the "zinc process," which was superior for fine work such as portraits and sketches; and 3) photo engraving, "which somewhat resembles the zinc method." wood engraving journalism journalism illustrations fame celebrity magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving newspapers, and chalk process newspapers, and zinc process illustrations, and chalk process illustrations, and zinc process American illustrations How Newspaper Picture Are Made 14470 How Nickel Eats Penny. How Arcade Microbes Prey on Each Other Los Angeles Times
May 31, 1907
II 8 This article says that “The nickel theater and penny arcade furnish most of the distinctive features connected with the mechanical side of theater development. They came into being about the same time, and have grown, mushroom-like, into a noisy popularity.” The article's subtitle reads: "‘Store Shows’ Throttle the Picture Machines. Malevolent Little Pests May be Self-Destroying." Los Angeles censorship censorship censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures metaphors metaphors, and plague spots sound recording sound recording, and phonograph censorship and ratings censorship, and movie theaters censorship, and phonograph parlors metaphors, and theaters metaphors, and mushrooms metaphors, and microbes theaters, as mushrooms theaters, as microbes Los Angeles, and motion pictures motion pictures, and Los Angeles metaphors, and little pests theaters, as little pests How Nickel Eats Penny. How Arcade Microbes Prey on Each Other 15790 How Rotogravure Makes a Picture New York Times
Nov. 27, 1913
4 This article is on a new technology, rotogravure, that allows newspapers to reproduce photographs faster. It is also adaptable to the rotary press. The subtitle to the article reads: "Photogravure Process Adapted to a Cylinder for Printing at a Rapid Rate. Shown in Christmas Times. All Times Pictorial Sections Will Soon Be Made by This New Method." wood engraving rotogravure rotogravure process journalism journalism fame fame celebrity photography, and celebrity culture actors acting magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving rotogravure photography, and rotogravure process rotogravure, and photography newspapers, and rotogravure rotogravure, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity photography, and rotogravure process How Rotogravure Makes a Picture 30120 How Technology from the Moon Will Advance Photography on Earth American Cinematographer
Jan., 1967
48 1 48-50 This interesting article discusses early efforts to enhance moon photographs by digital means. It covers the work of such people as Dr. Robert Nathan, who headed Caltech's Jet Propulsion Laboratory (JPL) video digital (computer) data research for the National Aeronautics and Space Administration (NASA). It notes that the quality of enhancement pictures is constantly being improved by computer research engineers at JPL at the California Institute of Technology. The article says that "computer enhancement began in 1963 after Nathan saw Russian pictures of the Moon's far side." (48) Ranger VII first video-scanned the moon's surface for the United States in July, 1964. During 1964 and 1965, Rangers VII, VIII, and IX took more than 17,000 pictures of the moon's surface. Researchers at the JPL increased the yield of photo data analysis from 5 percent to 95 percent of its maximum potential.
The article notes the future potential for film makers. "Although the application of this technique of resolution enhancement to cinematography might, at first appraisal, seem remote, the method actually represents an enormous potential in certain specialized areas of film production. The unique demands of instrumentation, medical and technical documentation are often such that really sharp original cinematography becomes all but impossible." (49)
As for obstacles to progress in this areas, the article says that "to date, the methods has been confined to single-frame photographs. However, since a motion pictures is nothing more than a multiple series of single 'still' frames, further extension of the process is technically quite feasible." (40) The article goes on to say that: "The main drawback, at present, is one of volume. The enhancement technique currently in use is a slow process. It is likely that an Analog Hybrid capability would have to be designed in order to accelerate this technique for use with motion pictures. Such thinking on the problem is being followed through at the moment." (49)
The technology involved at this time was quite large. The process involved a "reassembly printer -- a huge machine about the size of a truck (7 feet high by 5 feet wide by 12 long)." (50) The article notes that Boeing was the prime contractor for NASA and that Eastman Kodak was involved with the film processing. National Aeronautics and Space Administration (NASA) computers corporations corporations corporations Eastman Kodak Boeing Corporation cinematography digital media photography and visual communication aeronautics and space communication photography, digital digital photography, and origins digital photography, and CalTech Jet Propulsion Lab NASA NASA, and digital photography digital photography, and NASA Nathan, Robert, and digital photography digital photography, and Robert Nathan motion pictures, and digital photography digital photography, and Ranger VII military communication military communication, and digital photography magnetic recording magnetic recording, and digital photography digital photography, and magnetic recording computers and the Internet digital photography, and computers computers, and digital photography computers, and space communication Eastman Kodak, and digital photography digital photography, and Eastman Kodak Boeing, and digital photography digital photography, and Boeing motion pictures photography computers How Technology from the Moon Will Advance Photography on Earth 6490 How Thos. A. Edison Plans to Cure Hookey Chicago Daily Tribune
Dec. 10, 1911
G 4 Thomas Edison believed that moving pictures would be a great tool for education. On teaching geography, physics, natural history and other subjects by using movies, this article says: “'Make Every School Room a Motion Picture Show for the Children, in Which Instructive Films Are Shown and You Have Solved the Problem of Effective Education of the Small Boy,’ Says World’s Greatest Inventor.” history children motion pictures motion pictures, and new art form Edison, Thomas motion pictures, and Thomas Edison Edison, Thomas, and motion pictures history, and Thomas Edison Edison, Thomas, and history history and new media motion pictures, and history history, and motion pictures education motion pictures, and education education, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children How Thos. A. Edison Plans to Cure Hookey 1180 How Those Amusing Freak Moving Pictures Are Made New York Times
Aug. 21, 1910
SM 11 This article notes that special effects make it possible for one to enjoy “Alice in Wonderland” as a child again and “in life-size and startling realism.” Notes that live events are sometimes filmed by accident or chance and that movie stories are then build around these pictures. Talks about the technical qualities of the camera that makes tricks possible. It mentions double exposure of film.
The article's subtitle reads: "Ingenious Devices Make It easy for a Man Apparently to Walk on the Ceiling, Climb Up the Side of a House and Work Other Impossibilities." motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space special effects motion pictures, and special effects motion pictures, and magic cameras cameras, and special effects special effects, and cameras How Those Amusing Freak Moving Pictures Are Made 6570 How to Make Magic Lantern Slides for Your Own Entertainment Chicago Daily Tribune
Sept. 25, 1904
E 3 This articles says that “By means of the magic lantern, or stereopticon, the smallest Kodak views can be reproduced in brilliant pictures of life size, or larger, for the enjoyment of family and friends, and a little skill with colors will enable the amateur to reproduce in vivid hues and with striking fidelity as to actual size and color all of the characters, incidents, scenes, and experiences met with during a summer vacation or in the fishing, hunting, or traveling adventure which are the delight of all true amateur photographers.” Article goes on to say that “Slides Easily Colored.” home photography color color, and photography photography, and color photography and visual communication home and new media home, and color photography photography, and home Kodak photography, and Kodak Kodak, and color photography color, and Kodak Kodak, and color How to Make Magic Lantern Slides for Your Own Entertainment 42470 How We Reading Independent
April 30, 1908
64 982-83 This article discusses recent research about how people read. It says that with training one can cut the amount of time they spend reading by half or three-quarters. "That such an economy is attainable is indicated by investigations in the psychology of reading that have been recently carried on in many laboratories in this country and Europe. These show that ease and rapidity of reading depend more upon the knack of managing the movements of the eyes that on intellectual ability or quickness of perception. Among men and women of the same degree of education some read four or five times as fast as others, and in general the rapid readers can remember more of what they read and also reproduce it with fewer mistakes than the slow readers." (982)
The article discusses eye movement in reading an says that the eye "has to come to a full stop and focus at intervals of ten letters so." (982) It compares eye movement with a motion picture saying that it "is the same as with motion pictures. If the ribbon of photographic films were run thru the machine continuously there would be only a blur on the screen. Each picture has to be brought to a full stop for an instant and then the films jerked along to the next." (983) According to this piece, "in reading the eye is at rest much more than it is in motion; about ten times as long." (983)
Such research suggests that shorter lines are more easily read than longer one in newspapers and in other printed material. "If the lines are of unsuitable length, and especially if they are irregular, as those alongside of inserted cuts, the reading is slow and tiresome. The best length of line has been found by laboratory tests and practical experience to be that adopted in The Independent and the best newspapers; that is, about 64 millimeters. A line longer than 90 millimeters should never be used, altho if the type is enlarged in proportion and the page is held far enough away the angular movement may be the same." (983) Still "it requires more time to read the same number of words in a long line than in a short one, and the eye is frequently confused on swinging back to the left in finding the proper line. Besides this, the eye is strained in reading in a wide column, because the focus has to be changed from the ends to the middle, and differently for the two eyes, especially if the book is not held squarely in front.
"Theoretically a still shorter line than those here used would be better...." (983)
The article speculates that it is easier to reading lines arranged "perpendicularly instead of horizontally" as in Japanese or Chinese. (983) reading words vs. images history and new media motion pictures, and reading reading, and motion pictures motion pictures news and journalism reading, and journalism journalism, and reading motion pictures, and newspapers newspapers, and motion pictures images vs. words critics education reading, and education education, and reading modernity modernity, and motion pictures motion pictures, and modernity media effects media effects, and reading history journalism How We Reading 15580 'Human' Picture of King New York Times
Oct. 19, 1913
C 3 The subtitle of the article reads: "Monarch Throwing Rice at Royal Couple Caught by Camera." journalism journalism fame celebrity actors acting magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality 'Human' Picture of King 14190 Ice Box for Cineographs Los Angeles Times
Feb. 12, 1905
I 16 This article talks about the danger of fire from cellulod film and other materials. motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire hazards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard Ice Box for Cineographs 38690 Illustrated Newspapers Littell's Living Age
April 23, 1870
1351 204-06 This piece is reprinted from Gentlemen's Magazine and comments on the appearance and spread of illustrated newspapers in Great Britain. It begins: "A new mania in journalism. The newspaper has arrived at the illustrated phase. Comic literature has come out of this epidemic tolerably successfully; the magazines have got down to a dead level of bad drawing and worse engraving; and now comes the turn of the more serious publications -- the newspapers. We shall soon see what they make of it. The growing taste for pictures, and the demand for art education, has recently brought into existence to illustrated papers, which are, in every respect, novelties in journalism. We allude to the Graphic and the Illustrated Midland News." (204) wood engraving journalism news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving critics critics, and pictorial journalism newspapers, and illustrations illustrations, and newspapers newspapers, and artists art, and newspapers words vs. images images vs. words critics, and illustrated newspapers critics newspaper illustrations, origins Great Britain non-USA Great Britain, and illustrated newspapers non-USA, and illustrated newspapers art illustrations magazines photography Illustrated Newspapers 34790 The Imge of the U. S. Time
Sept. 12, 1955
66 11 26 This article defends U.S. ambassador to Italy Clare Booth Luce's decision to oppose the showing of MGM's movie The Blackboard Jungle at the Venice film festival. The article begins: "Probably the deepest trouble of the contemporary U. S. is its inability to produce a reasonably accurate image of itself. In plays, movies, novels, it cruelly caricatures its life, parades its vices, mutes its excellences. This tendency, far more than Communist propaganda, is responsible for the repulsive picture of U. S. life in the minds of many Europeans and Asians." Luce,refused to attend the Venice Film Festival because she felt the movie showed the U. S. in a bad light. The Festival dropped the film from its program and producer Dore Schary accused Luce of censorship. Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) Eisenhower administration motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Eisenhower, Dwight D. presidents and new media motion pictures, and Dwight Eisenhower Eisenhower, Dwight D., and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Eisenhower administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy Luce, Clare Booth censorship and ratings motion pictures, and censorship media effects motion pictures, and media effects nationalism and communication motion pictures, and nationalism motion pictures, and foreign policy The Imge of the U. S. 37150 An Improved Hand Camera Scientific American
Dec. 15, 1906
95 24 452-53 This article offers a description of how an improved hand camera works. cameras cameras, and movement cameras, and portability motion pictures, and movement cameras, hand photography and visual communication photography, and cameras American motion pictures photography An Improved Hand Camera 15000 In Hues of Nature Chicago Daily
April 4, 1897
45 The subtitle for the 2-page article reads: "New Color Photography Now Officially Recognized. Is a Chemical Process. Certain Secret Solutions and Pigments Are used. Invention of Frenchman. Tested by English Scientists with the Greatest Success. Chance for Counterfeiters." photography color, and photography photography, and color photography and visual communication color In Hues of Nature 15980 In the Limelight Los Angeles Times
Dec. 27, 1908
I 7 The subtitle of the article reads: "More Than Hundred Theatres to Exhibit Moving Pictures of Los Angeles Winter Wonders." Los Angeles motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences In the Limelight 37200 The Inauguration Rapidly Pictured New York Times
March 2, 1913
2 This article reports that the New York Times will offer four full pages of photographs of President Woodrow Wilson inauguration, five days after that event, and thus will beat the paper's Sunday magazine in providing pictures. The paper will provide half-tone pictures using a faster presses and "specially made paper of high quality." The Sunday Times will also provide photographs new spring fashions.
"Readers of next Sunday's Times will not have to wait a couple of weeks for the magazine to furnish them with an adequate pictorial review of the inauguration, finely printed on smooth surfaced paper. The Times has taken care of that. The fifth morning after the great National celebration is over every Times reader will have spread before him four great newspaper pages of wonderful photographs -- pictures so well chosen and so well produced that no desires will be left for the formal magazine to satisfy later on....
"To accomplish this the Times has made extensive preparations. Special photographers will be everywhere in Washington to-morrow snapping pictures which together will constitute a pictorial history of the entire inauguration.
"These will be rushed to the Times office in New York City where, the next day, they will be converted into special metal plates. Fast presses will stand ready with specially made paper of high quality on the reels in readiness for a run at a speed which will make still another record for half-tone pictures of the quality of these.
"The Sunday Times of next Sunday will be notable for another reason, also. It is the occasion of the Spring Fashion Number.... The half-tone pictures were reproduced from exclusive hats and gowns, and will be seen then for the first time in America." The work of some of the most famous Parisian dressmakers will be shown.
The subtitle for the article reads: "The Sunday Times Will Make a New Record in Publishing High Quality News Pictures. Special Paper, High Speed. With Same Issue Will Appear the Annual Authoritative Spring Fashion Section." journalism magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and history history, and photography Wilson, Woodrow presidents and new media Wilson, Woodrow, and photography photography, and Woodrow Wilson photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed advertising history The Inauguration Rapidly Pictured 1310 Installing Veriscopic Exhibition Chicago Daily Tribune
June 7, 1897
7 This article discusses the camera technology used to film the Fitzsimmons-Corbett heavyweight boxing match. The machine and filming equipment weighted over a ton. To reproduce the fight used over two miles of film. With 48 pictures to each foot, there were about 513,600 pictures. The article's subtitle reads: "Grand Opera-House Temporarily Closed to Set Up Reproduction of Fitzsimmons-Corbett Fight." motion pictures, and sports motion pictures, and boxing cameras cameras, and motion pictures cameras, and sports motion pictures, and cameras sports, and cameras motion pictures, and Veriscope motion pictures, and number of pictures motion pictures Installing Veriscopic Exhibition 2830 Instant World: A Report on Telecommunications in Canada Ottawa, Ontario Information Canada ?
1971
This work examines telecommunications in Canada -- the complex problems it faces, social context, history of the industry and its corporate structure, the need for future innovations, and the government's responsibility to protect the public interest. Among the topic covered include satellites and the growing role of computers (as of 1971) in communications. computers labor satellites community democracy computers community non-USA office office, and new media office Canada telecommunications telecommunications, and Canada Canada, and telecommunications infrastructure, and telecommunications telecommunications, and history of democracy, and telecommunication community, and telecommunications computers and the Internet computers, and telecommunications aeronautics and space communication satellites, and Canada telephones telephones, and Canada radio radio, and Canada Intelsat infrastructure Instant World: A Report on Telecommunications in Canada 13480 Instantaneous Portraiture New York Times
Oct. 28, 1900
20 This article notes the difficulty capturing Theodore Roosevelt's personality in facial photographs because his expressions changed to quickly. “Of the two Republicans Mr. Roosevelt suffers the more because his countenance is at all times so influenced in its expression by the swift and changing play of his emotions that its appearance at any one instant cannot be isolated and fixed without a real perversion of the effect it actually produces on those who are watching and hearing him. We all recall the impression of grotesqueness imparted by the instantaneous photographs of a horse in motion when they were first produced…. There is a like miscarriage in the photographs of our Governor ‘in motion.’…” William Jennings Bryan’s photos are also unsatisfactory, the article says. nationalism journalism history facial expressions celebrity photography motion pictures history and new media motion pictures, and history history, and motion pictures Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures presidents and new media photography and visual communication personality personality, and motion pictures motion pictures, and personality celebrity culture presidents and new media Roosevelt, Theodore, and new media photography, and Theodore Roosevelt Roosevelt, Theodore, and photography facial expressions, and photography photography, and celebrity culture celebrity culture, and photography Roosevelt, Theodore, and instantaneous photography Bryan, William Jennings, and photography photography, and William Jennings Bryan Bryan, William Jennings photography, instantaneous Instantaneous Portraiture 16760 Interstate Circuit, Inc. v. Dallas. 390 U. S. 676 (1968) 1968 In Dallas, a film classification board, the first of its kind in the United States, attempted to use age as a means of rating the appropriateness of films. Even though the movie industry successfully challenged this plan before the United States Supreme Court in Interstate Circuit, Inc., v. Dallas (1968), the Court did not declare classification invalid and many believed the case encouraged other cities to create their own classification boards. Indeed, Jack Valenti thought that as many as forty local regulatory boards were ready to move into action by 1968. In late 1968, the motion picture industry adopted a rating system. U. S. Supreme Court Supreme Court (U. S.) archives censorship and ratings children law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and censorship Interstate Circuit, Inc. v. Dallas motion pictures, and classification motion pictures, and children children, and motion pictures Supreme Court (U. S.), and movie classification censorship, and local court cases censorship, and local government court cases, and classification court cases, and Dallas children, and media Interstate Circuit, Inc. v. Dallas. 41720 Invasion of Privacy Zion's Herald
Aug. 8, 1900
78 32 996 This article discusses a case before the Supreme Court of New York regarding a woman whose photograph was used in an advertisement even though the woman had not given her permission. The article says that "To print the likeness of a young woman and post it in public places is to invite public criticism and inflict an injury to her feelings by giving her an unenviable notoriety." The article goes on to say the case will apply "only to private individuals, but it might well be extended to men of public fame."(996) law privacy law, and privacy law, and motion pictures photography and visual communication photography, and privacy privacy, and photography court cases court cases, and privacy privacy, and court cases home and new media home, and privacy privacy, and home advertising and public relations advertising, and privacy privacy, and advertising privacy, and Samuel Warren photography, and fame photography, and notoriety women women, and privacy privacy, and women photography, and women women, and photography advertising, and women women, and advertising advertising home photography Invasion of Privacy 650 Is the Moving Picture to be the Play of the Future? New York Times
Aug. 20, 1911
SM 8, 11 This article draws distinctions between the motion picture and the live stage. “The stage has always been handicapped by the fact that you can’t tell the story as the novelist can." (8)
It considers motion pictures and their relation to modernity. “We are just at the dawn of the moving picture as a feature of modern life. As has been said, its utilization in the drama is only a thing of five years. Sociological and philanthropic organizations are beginning to make use of it in a limited way. One enthusiastic moving picture man looks forward to its use in the schools. (11)
“‘Why not?’ said he. ‘Picture are the best way of impressing things on the mind of a child. Properly speaking, there is no other methods. I read about Niagara Falls in my school geography, but I read only words. When I saw the falls it was a revelation to me. If it had been put on the screen in the classroom I would have understood what the teaching was telling me. (11)
"'Then think of the possibilities in the way of teaching history and, for that matter, of teaching almost any branch. There is no end to them.’
“There is, by the way, a strong demand for historical plays…. Many other scenes in European and American history which have defied production on the regular stage because of intrinsic difficulties offer no obstacle to the moving-picture man. The education possibilities of this new form of drama are seemingly limitless. (11)
“It is impossible to conjecture how great a part it may play in our civilization by, say, the dawn of the twenty-first century.” (quotations, p. 11)
This article notes that movie actors lack fame but that this state of affairs is changing. Notes the creation of a fan magazine, Motion Picture Magazine. As movies become more technically sophisticated, they will rival the stage. Up to this point, theater managers treated movies as only an “interlude” to the live performance on stage. The article notes the limitations of the stage and the advantages of film e.g., movies are more flexible that the stage and have better scenery. There is better pay in the movies. However, movie actors can use their voices and must use pantomime. The article mentions efforts to add sound to moving pictures. It says movies are a way to teach history. Movies are “just at the dawn … as a feature of modern life.” (11) theater stage journalism history children celebrity photography, and celebrity culture actors acting actors acting magazines photography photography and visual communication celebrity, and motion pictures celebrity culture motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space cameras cameras, and movement cameras, and portability motion pictures, and movement history and new media education motion pictures, and history history, and motion pictures education, and motion pictures motion pictures, and education theater and stage motion pictures, and stage stage, and motion pictures fame personality motion pictures, and fame actors, and fame motion pictures, and actors news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines fan magazines magazines, fan celebrity, and photography photography, and celebrity motion pictures, and stars (origins) motion pictures, and geography geography, and motion pictures motion pictures, and travel children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children geography Is the Moving Picture to be the Play of the Future? 41960 Is the Photoplay Heading toward Disaster -- and Why? Current Opinion
June 1919
66 6 369-71 This article present excepts three people: Richard A. Rowland who was covered in the Motion Pictures Magazine; Channing Pollock, who wrote in Photoplay Magazine; and Arthur Stringer, the novelist, poet, and playwright for films, who also wrote in Photoplay Magazine. Quoting from Stringer's excerpt on the photoplay:
"'Since it feeds the mind through the eye, and not through the ear, we have fallen into the habit of speaking of it as the silent drama, and we have hybridized its methods by imposing upon it the emotionalizing accompaniment of music and the elucidating sign-post of the sub-title, overscrolling the picture itself with printed text precisely as the medieval painters once overscored their paintings with vebal explanations. But the motion-picture is not silent drama. It is not drama, in the first place, any more than it is animated sculpture, and we can call it silent only as we confuse it with drama, wherein of course, the actors have the power of speech. But this new, this novel, the revolutionary art which has been tossed 370/371 into the world speaks, not in words, but in action and scenic impression. It is quite vocal enough, only we haven't yet taken the trouble to acquaint ourselves with its amazingly impressive alphabet. In other words, we have deferred fixing on settled values for its different counters of expression. (370-71)
"'We have vacillatingly put off honoring it with a technique of its own, with that give and take between artist and audience essential to all art, in which so much of the human response hinges on making the spectator an unconscious co-worker with the creator himself. This give and take we have readily enough recognized in the older arts, where a sculptor cannot carve an eyelash, or a painter on a flat canvass cannot show a drawing-room relief, or a playwright cannot show a drawing-room without one of its walls knocked out. We accept those limitations and glory in the illusion whereby they are overcome. But this marvelous new art of sun-writing has been the Orphan-Annie of the older arts. We have tried to tog it out in the buskin of the drama and lace it up in the slightly shoddy shoes of the written story. In do so, we have mongrelized its technique, insinuating into it the mechanics of the stage and imposing upon it the clumsily spelled-out textual legends of the story-writer -- which, after all, is a good deal like sticking real chicken feather in the tail of an oil-painting of a golden eagle.'" (371) theater stage motion pictures, and modernity critics censorship words vs. images metaphors actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and printing press motion pictures, as new literary form theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form motion pictures, and novels censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and new way of seeing motion pictures, and drama motion pictures, and nature motion pictures, and character motion pictures, and words motion pictures, and motion pictures, and printing press motion pictures, as new language motion pictures, and Arthur Stringer motion pictures, as revolutionary art motion pictures, as sun-writing motion pictures, and sculpture motion pictures, and painting Is the Photoplay Heading toward Disaster -- and Why? 13100 Jack Block, Nathan Wolf, et. al. v. The City of Chicago Illinois Supreme Court 1909 239 Illinois Supreme Court Reports 251 Among the issues in this case, which involved the films James Boys in Missouri (Essanay, 1908) and Night Riders (Kalem, 1908), was what constituted obscenity and immorality, and also what portrayal of history might be consider immoral. The lawyers who fought these charges maintained that movies were depictions of the "American historical experience" and thus could not be censored as immoral or obscene.
Lee Grieveson in Policing Cinema (2004), writes of this case:
"Chief Justice James H. Cartwright dismissed these claims in the Illinois Supreme Court in early 1909. It was the purpose of the law, Justice Cartwright asserted, 'to secure decency and morality in the moving pictures business, and that purpose falls within the police power.' Notions of 'decency,' 'immorality,' and 'obscenity' were central to this power, and although it is 'doubtless true,' Cartwright noted, that there are differences as to what is immoral and obscene, 'the average person of healthy and wholesome mind knows well enough what "immoral" and "obscene" mean and can intelligently apply the test to any picture presented to him.' Cartwright's logic assumed a universal subject of moral judgment.
"Even though the ordinance focused solely on moving pictures, Cartwright noted, it did not necessarily license other immoral representations; furthermore, there is something specific to the regulation of moving pictures -- 74/75 the audience. 'On account of the low price of admissions,' Cartwright claimed, nickel theaters 'are frequented and patronized by a large number of children, as well as by those of limited means who do not attend the productions of plays and dramas given in the regular theaters. The audiences include those classes whose age, education and situation in life especially entitle them to protection against the evil influence of obscene and immoral representations.' He thus concluded that exhibition of the pictures 'would necessarily be attended with evil effects upon youthful spectators.' A concern about the effects of moving pictures on children and those rather enigmatically characterized as 'of limited means' that had animated the development of reform concern in early 1907 and led to the establishment of the police censor board was central also to the establishment of the board's constitutionality. Discourse creates institutions that come, in turn, to sustain those discourses. Important precedents were set here, paving the way for the proliferation of municipal and state censor boards from this moment on.
"Responding also to the claim that the films depicted 'experiences connected with the history of the country,' Cartwright suggested that it did not follow that they were 'not immoral' since they 'necessarily portray exhibitions of crime.' Representations of history in moving pictures -- at least if they portray 'crime,' that central motor force of history -- could be immoral and obscene and could thus have damaging effects on those of 'limited means' and on the children of an urban immigrant population who were seen to be the most frequent moviegoers. Of course, the representation of the history of the United States -- or, for that matter, the immorality of elites -- to those groups had critical ideological import The representation of criminal events in moving pictures was of a different order from their depiction on the stage. For Justice Cartwright clear distinctions needed to be drawn between moving pictures and historical and theatrical accounts. Even though it is almost certain that the two films under consideration -- like The Unwritten Law -- replayed historical actuality through fictional conventions, that they were only retrospectively discursively positioned as straightforward representations of historical actuality, the decision took that positioning at its word and disallowed it."
"Untangling the complicated layers of this case is important to our understanding of the interaction between regulatory forces and the film industry at this moment. Allying cinema on the one hand with the theater and on the other with nonfictional discourse -- the at least ostensibly nonfictional discourse of history -- seemed to offer a way for Block to circumvent the powers of the police censor board. Yet these alliances were de- 75/76 nied by the state Supreme Court amid fears about the effects of films on audiences. Film was, this suggested, distinct from the theater and from history and uniquely a target for regulatory concern principally because it could have damaging effects on vulnerable (and potentially dangerous) audiences. The audience base for cinema meant that it could not simply represent controversial real-life events. Cartwright's concerns can be situated clearly in the context of the anxieties about 'sensational' films such as The Unwritten Law and the effect of moving pictures and nickel theaters on children, and indeed on those of 'limited means,' that emerged so forcefully in early 1907. Legal discourse is a cultural text, evidently enmeshed with the shared knowledge of the culture traced out in this chapter." (Grieveson, Policing Cinema, 74-76) theater stage immorality history children censorship law censorship and ratings freedom law, and motion pictures motion pictures, and legal motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Illinois Supreme Court, and motion pictures motion pictures, and Illinois Supreme Court court cases court cases, Illinois Supreme Court court cases, state motion pictures, state censorship censorship, state (IL) censorship, and Chicago motion pictures, and Chicago censorship history and new media motion pictures, and history history, and motion pictures history, and censorship censorship, and history children children, and motion pictures motion pictures, and children motion pictures, and values motion pictures, and immorality motion pictures, and obscenity obscenity, and motion pictures immorality, and motion pictures values values, and motion pictures Block v. City of Chicago case (1909) audiences motion pictures, and audiences audiences, and motion pictures theater and stage motion pictures, and stage stage, and motion pictures media effects motion pictures, and media effects media effects, and motion pictures media effects, and children children, and media effects sensationalism motion pictures, and sensationalism sensationalism, and motion pictures James Boys in Missouri (1908) Night Riders (1908) Unwritten Law, The (1907) theaters motion pictures, and theaters theaters, and motion pictures censorship children, and media history obscenity Jack Block, Nathan Wolf, et. al. v. The City of Chicago 13100 Jack Block, Nathan Wolf, et. al. v. The City of Chicago. 239 Illinois Supreme Court Reports 251 Illinois Supreme Court 1919? This Illinois Supreme Court case dealt with motion picture censorship. archives law censorship and ratings censorship law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Illinois Supreme Court, and motion pictures motion pictures, and Illinois Supreme Court court cases court cases, Illinois Supreme Court court cases, state motion pictures, state censorship censorship, state (IL) censorship, and Chicago motion pictures, and Chicago censorship Jack Block, Nathan Wolf, et. al. v. The City of Chicago. 16090 Jacobellis v. Ohio. 378 U. S. 184 (1964) 1964 In 1964, Jacobellis v. Ohio, the U.S. Supreme Court overruled a decision to prohibit Louis Malle’s film The Lovers (Les Amants) (France, 1958; U.S. 1959), about a bored young woman who fell in love with an archaeologist and abandoned her husband and family. Ohio censors had found a love scene in the final reel particularly objectionable. In trying to ascertain the “dim and uncertain line” between protected expression and obscenity, the Court in a 6-3 decision judged the picture not obscene. Brennan, joined by Justice Arthur Goldberg, reaffirmed, and even expanded the Roth v. United States (1957) ruling, when they said that a work could not be outlawed unless it is “utterly without redeeming social importance.” Brennan and Goldberg also said obscenity had to be “determined on the basis of a national standard.” Douglas and Black concurred on the ground that the First Amendment permitted no restrictions. Justice Potter Stewart concluded that the Roth test applied only to hard-core pornography. He did not try to define the term, but did say in the now famous phrase, that “I know it when I see it.” Chief Justice Earl Warren dissented, rejecting the idea of a national standard for obscenity, and saying that when Roth said “community standards” should be the basis for judgment, it meant just that. U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom Jacobellis case court cases, and Jacobellis obscenity, and Supreme Court (U. S.), and Jacobellis case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Jacobellis case movie, The Lovers Jacobellis v. Ohio. 17300 Jaguar
1960s
This publication was one of many male-oriented magazines that featured nude pictures of women. The magazine exploited improvements in photography that had taken place during the 1950s and 1960s. magazines sexuality pornography obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity 27980 Janet Reno, Attorney General of the United States, et al. v. American Civil Liberties Union, et al. 521 U. S. 844 (1997) // 117 S. Ct. 2329; 138 L. Ed. 2d 874; 1997 U.S. LEXIS 4037; 65 U.S.L.W. 4715; 25 Media L. Rep. 1833; 97 Cal.Daily Op. Service 4998; 97 Daily Journal DAR 8133; 11 Fla. L. Weekly Fed. S 211 U.S.
March 19, 1997 (argued)
June 26, 1997 This case overturned the Communications Decency Act (CDA). In 1996, Congress passed the CDA. The CDA was part of the Telecommunications Act and it had two provisions that attempted to protect those under 18 years of age from harmful communications sent on the Internet. One provision made it a crime to knowingly transmit “obscene or indecent” materials to minors. The other made it illegal to use deliberately a computer service to send messages to those under 18 that depicted or described “sexual or excretory activities or organs” in a “patently offensive manner, as judged by “contemporary community standards.” The U. S. Supreme Court declared these provisions unconstitutional, in part because they amounted to an abridgment of free speech protected under the First Amendment. The scope of the CDA was too broad, the Court said, and such terms as “indecent” and “patently offensive” were so ambiguous as to “silence speakers whose messages would be entitled to constitutional protections.” U. S. Supreme Court computers telecommunications Supreme Court (U. S.) sexuality Internet computers law censorship and ratings court cases computers and the Internet Communications Decency Act, 1996 Telecommunications Act (1996) pornography pornography, and pornography, and computers pornography, and Internet Internet, and pornography computers, and pornography Supreme Court (U. S.), and pornography Supreme Court (U. S.), and computers Supreme Court (U. S.), and Internet law Janet Reno, Attorney General of the United States, et al. v. American Civil Liberties Union, et al. 21610 Japanese Urged to Control Video Cassette Tape Piracy Journal of Commerce
Feb. 18, 1987
4A (Foreign Trade Section) This article deals with the American film industry's attempts to combat video piracy. Jack Valenti, president of the Motion Picture Association of America, estimated that 9,000 to 10,000 video rental stores in Japan handle tapes that have pirated, and that the stores often make copies for customers. Worldwide, Valenti estimated that the American movie industry loses about a billion dollars each year to illegally copied cassettes. Motion Picture Association of America (MPAA) piracy video cassette recorders (VCRs) MPAA magnetic recording motion pictures Hollywood materials materials videotape magnetic tape law copyright law non-USA motion pictures and popular culture Japan VCRs video piracy video piracy, and Japan Japan, and VCRs Japan, and video piracy Valenti, Jack Valenti, Jack, and video piracy Valenti, Jack, and Japan Hollywood, and foreign commerce copyright, and video piracy intellectual property law, and video piracy Japanese Urged to Control Video Cassette Tape Piracy 19190 Jenkins v. Georgia. 418 U. S. 153 (1974) 1974 This Georgia case involved Mike Nichols’s film Carnal Knowledge (Avco Embassy/Icarus, 1971). A theater owner in Albany, Billy Jenkins, had been convicted for showing the movie, which starred Jack Nicholson, Art Garfunkle, Ann-Margaret, and Candice Bergen. A divided Georgia Supreme Court held that the conviction was within the guidelines set down by the U.S. Supreme Court in the Miller v. California case. The test for obscenity in Miller required that the work in question “portrays, in a patently offensive way, sexual conduct specifically defined by the applicable state law; and, taken as a whole, does not have serious literary, artistic, political, or scientific value.” It was difficult to argue that Carnal Knowledge, which was not a hard-core film, fell into that category. The Motion Picture Association of America backed Jenkins’s appeal to the United States Supreme Court, where Louis Nizer argued that the film deserved protection under the First Amendment. The Court agreed and, in setting out the decision, Justice William H. Rehnquist said that “juries do not have unbridled discretion in determining what is ‘patently offensive’” In short, the First Amendment, which the Court uniformly applied across the nation without consideration for whatever cultural differences might exist from one locale to another, took precedent over community standards. U. S. Supreme Court Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) Jenkins v. Georgia CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Supreme Court (U. S.) values archives sexuality obscenity NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric First Amendment values community freedom law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases motion pictures, and freedom Jenkins case court cases, and Jenkins obscenity, and Supreme Court (U. S.), and Jenkins case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Jenkins case censorship, and states censorship, and scommunity standards community standards, and censorship pornography pornography, and Jenkins case Jenkins case, and pornography pornography, and community standards movies, and banned (GA) motion pictures, and banned (GA) movie, Carnal Knowledge Nizer, Louis MPAA censorship, and First Amendment motion pictures, and First Amendment First Amendment, and motion pictures Jenkins v. Georgia. 38990 [Jewish Control of the Theaters] McClure's Magazine
March 1913
40 5 144-45 This section, part of a longer article on Jewish influence, says that "the activities of American Jews ... extend far beyond the borders of New York," and that "the business of relaxation and entertainment for more than 90,000,000 Americans is almost exclusively a Jewish industry." (144) It continues: "One needs to go back only twenty-five years to discover how completely Jews have eliminated all other races in the amusement field. Just glance, for a moment, at the names of the great theatrical 'magnates' of a generation ago. They were nearly all Irish or plain Anglo-Saxon.... A similar roster now would show an overwhelming majority of Jewish names. It is not only in the matter of race, however, that these old-time 'magnates' differed from the new. In many cases they represented an altogether different theatrical type. Nearly all were primarily theatrical managers and only secondarily business men; many, indeed, had earned their apprenticeship as actors and playwrights. They understood writing as a technical art, and approached the business of entertaining the public largely from an artistic standpoint. The Jewish managers who control the industry now, however, are nothing but business men. A few exception, of course, must be made; certainly no one would say that such men as David Belasco and Charles and Daniel Frohman are primarily commercialists. With practically all the rest, however, the modern theater is simply merchandise, like ready-made clothing and women's cloaks. Whereas the old managers started their careers on the stage, it is significant that nearly all of the new managers started in the box-office or in one of the occupations closely allied to the theater." (144) Later, the article says that "In vaudeville and moving pictures the Jews have likewise made large fortunes." (145)
Other subheadings in this piece are entitled "Protestant and Catholic Children Now Taught by Jewesses; Jewish Policemen and Firemen" (143-44); "Jews in Control of the Big Department-Stores" (145-46); and "Jews Control the Whisky Business." (146-47). theater Jews Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings anti-Semitism, and motion pictures motion pictures, and anti-Semitism religion values religion, and motion pictures values, and motion pictures motion pictures, and religion motion pictures, and Jews Jews, and motion pictures motion pictures, and values censorship, and Jews Jews, and censorship censorship, and religion religion, and censorship motion pictures, and Chicago Chicago, and motion pictures religion, and theater values, and theater theater, and religion theater, and Jews Jews, and theater theater, and values anti-Semitism [Jewish Control of the Theaters] 37700 Jews Wage Battle on Stage Caricature Chicago Daily Tribune
Sept. 3, 1913
9 This article reports that the "Anti-stage Jew vigilance committee of Chicago has sent out an appeal to 10,000 citizens asking assistance in abolishing the caricaturing of the Hebrew on the stage." The appeal, reprinted in full, reads in part: "'If, inadvertently, you should attend a playhouse where the Jew is the target of the comedian's vulgar horse play for the gusto of the audience, register at once a vigorous protest to the management. The Jew has submitted long enough to public slurs and insults on the stage.'" theater Jews Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings anti-Semitism, and motion pictures motion pictures, and anti-Semitism religion values religion, and motion pictures values, and motion pictures motion pictures, and religion motion pictures, and Jews Jews, and motion pictures motion pictures, and values censorship, and Jews Jews, and censorship censorship, and religion religion, and censorship motion pictures, and Chicago Chicago, and motion pictures religion, and theater values, and theater theater, and religion theater, and Jews Jews, and theater theater, and values anti-Semitism Jews Wage Battle on Stage Caricature 15390 Joe I. Breen Dies; Former Code Head Hollywood Reporter
Dec. 7, 1965
The obituary for the former head of the motion picture industry's Production Code Administration. self-regulation Production Code values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) values religion Breen, Joseph motion pictures and popular culture motion pictures motion pictures, and Production Code (motion pictures) Breen, Joseph, and Production Code (motion pictures) Production Code, and Joseph Breen Breen, Joseph, and biography Breen, Joseph, and obituary Joe I. Breen Dies; Former Code Head 15340 John Bunny Dies New York Times
April 27, 1915
13 The sub-title to the article reads: "Movie Funmaker. Fat, Big, Round-Faced Actor Who Made Millions Laugh Succumbs at 52." fame celebrity actors acting photography photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars Bunny, John Bunny, John, and celebrity culture John Bunny Dies 35770 John Paul Jones (aka Le capitaine Paul) John Farrow Warner Bros.
1959
The movie John Paul Jones (1959), one of the many so-called American-interest or "runaway" films that were produced abroad with some American talent. Hollywood labor groups protested this film and especially the fact that the signing of the Declaration of Independence in the movies actually took place in Spain.
Plot Summary from American Film Institute Catalog: "On a large Navy frigate, an officer tells new seamen about the legacy of the man who commanded the first ship to carry the U.S. flag into a European port, [H]John Paul Jones: In 1759, at age twelve, John, from a poor Scottish family, witnesses an English officer disperse townspeople playing the bagpipes, which are viewed as an instrument of war music. When the officer also insults the group by calling the kilt, forbidden by law, a "skirt," John hits the officer in the face with an egg. Desiring to be master of a ship, John goes to sea and by age seventeen is skilled in navigation. Seeking further experience, he serves on all manner of ships, including slavers, but decides that trafficking in slaves, while lucrative, is not for him. In 1773, John is master of a ship in the West Indies, but when a mutinous crew member dies from a cracked skull after John subdues him in a fight, the governor of Tobago suggests John change his name and leave. Complying, John adds the name "Jones" to his own and goes to Fredericksburg, Virginia to visit his brother William, who owns a business there. John learns from William's clerk and accountant, young Peter Wooley, that his brother died from an illness three months earlier. When John finds that two slave boys, Scipio and Cato, whom his brother planned to free, are in danger of being sold, John vows to see that they will be freed. Wooley suggests that John hire Patrick Henry, a friend of William's, as his lawyer. At a dance, when a British lieutenant haughtily condemns Colonial courage as being no better than the virtue of Colonial women, John slugs him. Afterward, the lieutenant's commanding officer, Capt. Pearson, apologizes for his conduct. When John attempts to flirt with socialite Dorothea Danders, whom Henry is courting, she warns against a "sudden and swift attack." Taken with Dorothea, John decides to stay in Virginia and buy a farm, but he does not take well to farm life. Dorothea's father, who is a member of the resistance with Henry, rejects John as a suitor because of their illustrious ancestors and John's questionable past. When the war begins, John joins the Continental Navy and, as second-in-command on a battleship in the Bahamas, presents a novel plan to use the Marines in a surprise attack on British troops in Nassau. After the Declaration of Independence is signed, John is assigned his first independent command. He learns that Tories have burned and destroyed his farm and carried off his servants to be sold in Jamaica. John's spirits are raised, however, when his Scottish friend, Duncan MacBean, playing the bagpipes, and Scipio and Cato, playing fife and drums, join Peter in welcoming John's ship. After sailing for Newfoundland, John captures eighteen ships, then gives supplies to Washington's army intended for the British commander General Burgoyne. After he learns that he no longer can command a ship because he is ranked low among captains, John goes to Valley Forge to deliver his resignation personally to General Washington. When John complains of favoritism and corruption, Washington, whose army suffers from hunger, mutiny and frostbite, castigates him. John then volunteers to serve in any capacity, and Washington sends him to France, hoping that a French alliance could break a possible blockade of the coasts. For his voyage, Washington suggests that John steal the British ship Ranger at Portsmouth, New Hampshire, and gather whatever crew he can get. The ship, on its arrival at Brest, is greeted by the first French cannon fire salute ever given to a ship flying the United States flag. In the company of Benjamin Franklin, John is celebrated in Paris as a hero. Aimee de Tellison, the illegitimate daughter of the king, Louis XVI, acts as John's guide to the city. Franklin encourages John to take over a frigate built in Holland and invade the British Isles, hoping that the English people will then protest the war and that insurance rates will rise, creating a financial burden for British commerce. After burning the ships and destroying the cannon at the harbor of Whitehaven, John speaks to the citizenry and relates that George III has likewise raided American shores. He vows not to harm any home or person if they make no attempt to fight, and a citizen leader grants them entry. After the raid, Lloyd's of London increases its rates on insuring ships, and members of the House of Commons decry the war. John is feted in Versailles, but at a meeting of the Marine Commission, the Ranger is ordered home as the result of a false report that John could not handle his men, sent by an aristocratic underling whom John had humiliated. After Franklin convinces John to remain in France without a ship, Aimee, moved by John's determination to build a new naval power, suggests to the queen, Marie Antoinette, that the Crown finance a frigate. When Franklin points out that the Crown would benefit from fleets John might capture, Louis agrees to the proposal if the ship sails under the American flag and uses as its name Le Bonhomme Richard, the French title of Franklin's most popular work, Poor Richard's Almanac. During the subsequent battle with Captain Pearson's new ship, The Serafis, the traitorous commander of a ship allied with John fires on Le Bonhomme Richard. As John's men are dying, Pearson asks if he is surrendering, and John calls out, "No sir, I have not yet begun to fight!" Though MacBean, Scipio, and many others on the ship die, Pearson ultimately surrenders because of a fire underneath the magazine. John is awarded a medal and sword at Versailles for his victory, but learns that because Aimee's father is of royal blood, she has been sent away. After the peace treaty is signed, John is told that present finances will not permit him to form an adequate sea force. While waiting for funds to be issued, he goes to Russia in 1790, as Empress Catherine has applied for the loan of his services. At St. Petersburg, Catherine tempts him with dancing girls, then, convinced of his sense of duty, assigns him to the Black Sea, where Russian ships and crews are in bad condition. After John wins the battle against the enemy's ships and fort, Louis bestows on him the rank of chevalier, which could allow him to marry Aimee. When John becomes very ill, he travels to Paris, where Aimee writes his last letter for him in which he dictates the qualities needed in a naval officer: he must be a gentleman and have a liberal education, fine manners, courtesy, sense of personal honor, tact, fairness and justice. The naval commander on the frigate finishes his tale, saying that John's spirit continues to serve and inspire the Navy."

"Note: The opening credits contain the following statements: "This production is dedicated to Fleet Admiral Chester M. Nimitz, U.S.N., able inheritor of the John Paul Jones tradition. To him we owe much gratitude for his unflagging encouragement and inspiration. We thank the Department of Defense and the officers and men of the United States Navy for their cooperation: also the Government of Spain. We thank too, Mr. Victor Oswald, Production Adviser, for his many services."
"According to Warner Bros. production notes and statements made in articles during the production, Samuel Bronston had the idea to make a film about [H]John Paul Jones in 1946 and found that, although various studios had registered the title from the late 1930s, those companies had dropped the idea because of the expense and lengthy screen time necessary to cover the subject adequately.
"According to various news items, in 1939, Warner Bros. bought the rights to Clements Ripley's biographical novel about Jones, entitled Clear for Action, which was serialized later in 1939 in The Saturday Evening Post before being published as a book in 1940. James Cagney was to star in the Warner production with his brother, William Cagney, producing, and Michael Curtiz directing. In 1946, a LAT news item stated that Jack Warner gave Jerry Wald and Delmer Daves the "green light" for the project. In 1949, according to DV, the film was going to be produced by Lou Edelman with Cagney starring.
" In Dec 1955, according to DV, Warner assigned the production rights to Admiralty Pictures Corp., a newly formed company of which Bronston was president. According to HR, Warner gave the property to Bronston in return for the rights to make a film about Charles Lindbergh, to which Bronston had a claim. The chairman of the board of Admiralty (a precursor to [H]John Paul Jones Productions, Inc.) was R. Stuyvesant Pierrepont, Jr. In addition to Pierrepont, the company was backed by Laurence and Nelson K. Rockefeller, the Charles Dana, Jr. family, James Watriss, Pierre DuPont III, Ernest Gross, C. D. Jackson, Frederick Stern and others, representing General Motors, Firestone Tire and Rubber Co., Eastman Kodak, Time, Inc., a Swiss banking firm and other industrial organizations. The backers were able to use assets frozen in Spain, France and Italy, according to news items, because filming was to be done in Europe, primarily in Spain. Bronston claimed that this film opened up an avenue for financing films that had been previously unavailable.
"Jesse L. Lasky, Jr. was signed to do the screenplay in Dec 1955. According to HR and DV, he conducted extensive research with Navy officials in Washington and wrote a screenplay in 1956 based on the Ripley book. Later, when John Farrow was hired to direct, Farrow, who liked Lasky's screenplay, asked him to collaborate on a rewrite, but Lasky was unable to work on it at that time. In Dec 1958, while the film was in post-production, Lasky saw ads listing Farrow as sole writer and heard that Farrow was to get sole screenplay credit. Lasky filed a protest with the Writers Guild of America and ultimately received equal billing with Farrow for the screenplay. Ripley's name, however, does not appear on the film. According to a DV news item, in Jul 1956, Bronston signed Ben Hecht to write the script, but no information has been located to confirm that he actually worked on the script. At that time, William Dieterle, who had established a reputation for making biographical films, was assigned to direct. In 1956, Richard Todd and Richard Basehart were both considered for the title role, along with John Miljan for the role of George Washington and John Lupton for that of a French naval officer.
"In Mar 1958, prior to shooting, the Hollywood American Federation of Labor Film Council, representing more than 24,000 members of film unions and guilds, threatened to boycott the film if it was to be shot totally abroad, as was then planned. The group also vowed to protest to President Dwight D. Eisenhower and Congress the Navy's cooperation with the producers, who, they claimed, planned to shoot abroad such historical scenes as the signing of the Declaration of Independence, Washington at Valley Forge, and a ball in Fredericksburg, Virginia. They stated, "We are not protesting the filming abroad of scenes legitimately laid abroad. But we do not think the American public will approve the photographing in Spain of the signing of the Declaration of Independence and other historical American events, especially when such foreign production deprives American craftsmen of sorely needed work."
"According to a DV article, the Council had previously boycotted the 1956 Republic picture Daniel Boone, Trail Blazer (see above) because it was filmed in Mexico, although its setting was American, and claimed that the boycott was responsible for that film being withdrawn from release. HR stated that the group in the previous two years had made numerous motions for a consumer boycott of films made abroad by U.S. firms. HR speculated that "the tinder which sparked" this protest was the Warner Bros. publicity campaign for the film, which noted that the production hired 150 Spanish women for the roles of "Virginia belles," planning to have the women wear blonde wigs. The Council also threatened to contact the Daughters of the American Revolution and the American Legion concerning their protest.
"In Apr 1958, DV reported that Bronston had agreed to shoot some scenes in Virginia, Maryland and Pennsylvania in response to the Council's action. Nevertheless, in Oct 1958, after shooting was completed, the Council voted to conduct a nationwide boycott upon the film's release and complained to the Navy concerning the use of Navy equipment and U.S. Marines in scenes depicting a beach landing filmed in Spain, according to HR. Bronston stated at the time that although they had planned to use Marines, he hired local extras instead when the Marines were sent to Lebanon unexpectedly. Bronston also said that twenty of the cast and twenty-two of the crew members, along with some of their families, were brought to Europe from the U.S. for the production. He claimed that had the film been made in the U.S., the cost would have been $10,000,000, rather than the actual production cost of $4,000,000. Although their appearance in the film has not been confirmed, contemporary HR news items add to the cast the following actors: John Stone, Pat Clavin, Stella Gallagher and Charles Lamb. Also added to the cast by a HR news item is Rosemarie Bowe, who was actor Robert Stack's wife from 1956 until his death in 2003.
"According to news items and publicity for the film, shooting was done in Spain at the CEA Studio in Madrid, and at outdoor locations in Galicia, Andalusia, Rota, Benidorm and Denia. Sets for the Scottish village, Whitehaven, a wharf in Delaware and a dock site in Portsmouth, NH were constructed in and around Denia. Shooting was also done in Scotland, at the palace at Versailles, Parliament and King James's Palace in London, the Royal Palace in Madrid, where the throne rooms of Catherine the Great and of Louis XVI were shot, the summer palace at Aranjuez, and state buildings in La Granja, Spain. The film was edited, dubbed and scored in London. Fleet Admiral Nimitz was an adviser and consultant. Rear Admiral J. L. Pratt returned to active duty to act as a technical adviser.
"Director Farrow had been a commander in the Canadian Navy and had directed a number of previous sea adventure films. His cousin, Alan Villiers, a British Naval officer during World War II, who also had been the captain of the Mayflower II (a replica of the original ship) on a recent transatlantic voyage, remembered seeing hulks of old sailing ships in Sicily during the war. Villiers oversaw the refurbishment of two of these ships in Ostia, Italy, and was an adviser during filming. Another ship built in Barcelona was also used in the film. According to NYT, ships from this film were later used in the 1962 film Billy Budd (see AFI Catalog of Feature Films, 1961-70). John Charles Farrow and Patrick Villiers, two sons of Farrow and his wife, Maureen O'Sullivan, were in the cast. While production notes state that Bette Davis was paid $25,000 for four days' work, Louella Parsons related that she was to be paid $50,000. An early plan to have Hollywood celebrities who had served in the Navy, Marines or Coast Guard portray seamen of the past did not come to fruition.
"In the latter part of 1958, Bronston and Barnett Glassman, who received associate producer credit on the film, traded charges in press and in court regarding ownership of the production company and Glassman's credit for the film. In Dec 1958, Var reported that nineteen litigations were pending regarding the company. The two men had worked together on earlier films. No information regarding the outcome of any of the suits has been located. After production, Bronston and Farrow formed a new company to make three films abroad, but this was Farrow's last film before his death in 1963.
"For its release in France, the film was called Le capitaine Paul, which was the title of a novel by Victor Hugo about Jones. HR, in its review, criticized the portrayal of Jones, saying that the film's writers used "only those rumors as were flattering to their subject" while ignoring "other sources that were salty with accounts of brawls, love affairs and humor." Jones, according to HR, actually killed two mutineers in the West Indies. HR went on to state: "The film makes no effort to clear up some of the most fascinating enigmas about Jones." Var was critical of the portrayal of historical characters, stating, "They end, as they begin, as historical personages rather than human beings."

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Film Daily 11 Jun 59, p. 6.
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The Exhibitor 17 Jun 59, pp. 4598-99.
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Box Office 22 Jun 59, p. 6.
BHCN 29 Jun 59, p. 5.
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Hollywood Reporter 24 Jul 1958, p. 7. motion pictures motion pictures, and American-interest films motion pictures, and labor labor motion pictures, and foreign markets motion pictures, and censorship censorship and ratings motion pictures, American-interest John Paul Jones (aka Le capitaine Paul) 35960 Johnston Joins Film Censor Talk: Starts Producer Parleys -- Weighs Proposal for the Classification of Movies New York Times
Oct. 6, 1959
45 This article points out that only the United States and Japan do not have a classification system for motion pictures. Eric Johnston is quoted as saying "I am against any system which involves censorship." Reacting to criticism from religious groups and women’s organizations, Johnston said: “From most of the critical letters I received, it is evident that the bulk of criticism is aimed at picture without Code seals. …More than 760 foreign pictures were imported last year, while 218 were produced in Hollywood. Only 280 Production Code Seals were issued. Pictures without the Code Seals are by far the largest offenders.” self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Johnston Joins Film Censor Talk: Starts Producer Parleys -- Weighs Proposal for the Classification of Movies 16870 Johnston Maps M. P. Institute: Johnston MPPDA President; Hays, Consultant Film Daily
Sept. 20, 1945
88 56 1, 7, 8, 13, 15 A piece about the new president of the Motion Picture Association of America, Eric A. Johnston. motion pictures and popular culture motion pictures motion pictures, and MPAA Johnston, Eric Johnston, Eric, and MPAA Johnston, Eric, and Will Hays Hays, Will H., and Eric Johnston Hays, Will H. Johnston Maps M. P. Institute: Johnston MPPDA President; Hays, Consultant 35420 Johnston Sees End to Film Censorship New York Times
April 11, 1961
41 Speaking to about 90 MPAA representatives on the fifteenth anniversary of his becoming MPAA president, Eric Johnston said: "I predict that long before another fifteen years pass, the Supreme Court will have declared once and for all that no one has the right to censor a motion picture." self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Johnston Sees End to Film Censorship 36030 Johnston Will Seek Film Pact in Soviet New York Times
Sept. 5, 1958
23 Eric Johnston, president of the Motion Picture Association of America, will travel to the USSR to negotiate an agreement for the exchange of American and Soviet films. The article notes that he "will be traveling as an official United States representative by State Department designation and not as an officer" of the Motion Picture Export Association, of which Johnston was also president. Motion Picture Association of America (MPAA) Soviet Union Eisenhower administration , news motion pictures USSR non-USA motion pictures, and foreign markets motion pictures, and foreign policy Eisenhower, Dwight D. presidents and new media Eisenhower, Dwight D., and motion pictures Johnston, Eric Johnston, Eric, and USSR MPAA Motion Picture Export Association Johnston Will Seek Film Pact in Soviet 15720 Jolson Screen Tests ‘Rotten,’ Lawyer Says New York Times
Sept. 15, 1926
26 The subtitle to the article reads: "Comedian Refused to Enter Movies When He Saw Them, He Tells Court." motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Warner Bros., and sound recording Jolson, Al, and sound film Warner Bros. Jolson Screen Tests ‘Rotten,’ Lawyer Says 16010 Joseph Burstyn, Inc. v. Wilson. 343 U. S. 495 (1952) 1952 U. S. Supreme Court motion pictures, and religion self-regulation Production Code Burstyn v. Wilson Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives freedom values religion law censorship and ratings censorship law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases court cases, Miracle case court cases, First Amendment Burstyn, Joseph Miracle case Production Code, and decline of freedom, and motion pictures motion pictures, and freedom movies, and religion motion pictures, and religion Joseph Burstyn, Inc. v. Wilson. 38880 Joseph Jefferson on the Actor's Fame Forest and Stream
May 26, 1906
66 21 842 Joseph Jefferson, who was an accomplished comedian of the English-speaking theater, maintained that it was "absurd" that literary men should envy the popularity accorded actors. Quoting Shakespeare to show the actor's plight ("'The poor player that struts and frets his hour on the stage and then is heard no more.'"), Jefferson says: "Yes, sir, there is nothing so useless as a dead actor." An actor's fame begins to die when the actor dies. He "'lives only in the memory of those who saw him act, but ... is dead as dead can be in the memory of the sons whose fathers saw him play.'" This reality is in contrast to "the painter, the sculptor, the author," who "'all live in their works after death.'" Actors should live in the moment. The "'must have their reward now, in the applause of the public, or never. If their names live, it will be because of some extraneous circumstances'," said Jefferson.
One might compare this assessment of the actor's fame with that given in "The Tragedy and the Compensations of the Actor's Career," Current Literature, XLII, No. 2 (Feb. 1907), 188-89. theater stage fame celebrity celebrity culture celebrity culture theater and stage motion pictures, and stage stage, and motion pictures celebrity, and actors actors, and celebrity fame, and actors actors, and fame actors acting actors, and fame before movies actors, and status of actors, and Joseph Jefferson motion pictures Joseph Jefferson on the Actor's Fame 4590 Journal of Mass Media Ethics: exploring questions of media morality Mahwah, NJ Lawrence Erlbaum Associates, Inc.
1998
13 no. 2 This issue is devoted to considering ethical questions involving new media technologies. Articles include: Thomas W. Cooper, "New Technology Effects Inventory: Forty Leading Ethical Issues"; Adam Clayton Powell III, "Satellite Imagery: The Ethics of a New Technology"; Donald B. Kraybill, "Plain Reservations: Amish and Mennonite Views of Media and Computers"; and David J. Gunkel, "Virtually Transcendent: Cyberculture and the Body." R & D ethics computers nationalism law, and privacy law research and development war war values surveillance Luddism computers and the Internet cyberculture values, and information technology ethics, and information technology luddism, and new media computers, and amish computers, and Mennonites critics aeronautics and space communication artificial intelligence and biotechnology satellites surveillance privacy satellites, and reconnaissance nationalism and communication military communication computers cyberspace ethics 15810 Journalism and the Cinema The Times [London]
Nov. 18, 1913
5 This article announcing that a special issue of The Times will be devoted to the cinematograph as part of the papers celebration of its 10,000 number. This article also discusses an exhibit from the day before of films dealing with medical and scientific topics. science medicine journalism journalism fame fame celebrity photography, and celebrity culture actors acting magazines, and photography magazines photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication education motion pictures, and education education, and motion pictures motion pictures, and medicine medicine, and motion pictures motion pictures, and science science, and motion pictures non-USA non-USA, and motion pictures motion pictures, and non-USA Great Britain Great Britain, and motion pictures motion pictures, and Great Britain Journalism and the Cinema 25160 Judge Adds A.P. S. to X-Rated Film Ruling Bergen County Record (New Jersey)
July 22, 1990
E03 This piece deals with the court case that had challenged the motion picture industry's X rating given to the movie Tie Me Up! Tie Me Down!. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Tie Me Up! Tie Me Down! Kunstler, William Miramax Films Miramax Films, and Hardware Miramax Films, and sex, lies, and videotape Miramax Films, and Scandal Miramax Films, and My Left Foot Heffner, Richard Judge Adds A.P. S. to X-Rated Film Ruling 41670 June Harper's Bazaar
June 19, 1880
13 25 386 This brief article makes reference to "chromo-civilization," a term used by E. L Godkin, and compares it to "green fruit." "As a people, we have passed the salad days when we were green in judgment. Our taste is ripening. Our sense of fitness is maturing. That sort of intellectual green fruit -- of immature poetry, art, music, ornament -- that 'chromo-civilization' in which we once took delight, is losing its power to hold us." (386) metaphors emotion decadence color in literature color, and research on color color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations censorship and ratings media effects color, media effects media effects, and color color, and sensuality sexuality color, and sexuality sexuality, and color chromo-civilization color, and chromo-civilization metaphors, and color as green fruit color, as intellectual green fruit June 40960 Just What Is So Mysterious about Color American Cinematographer
Oct., 1936
414, 424-26 Kalmus, Herbert censorship censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and novelty lighting lighting, and color color, and lighting Just What Is So Mysterious about Color 34890 Kefauver Lauds Code: Says Changes in Film Rules Parallel Committee Ideas New York Times
Dec. 15, 1956
21 Democratic Senator Estes Kefauver (D-TN) and the members of his subcommittee who were investigating possible links between the movies and juvenile delinquency, believed that violent films provided possible “trigger mechanisms” for some youth. Kefauver praised the revised Production Code in 1956. Kefauver was also pleased by another revision in the Code. His subcommittee had called for a relaxation in the Code’s restrictions that forbade treating such topics as drug addiction and kidnapping. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality Kefauver, Estes motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media Kefauver committee motion pictures, and juvenile delinquency Kefauver Lauds Code: Says Changes in Film Rules Parallel Committee Ideas 36040 Khrushchev, Johnston Talk New York Times
Oct. 7, 1958
42 Eric Johnston, president of the Motion Picture Association of America, traveled to the USSR as an official representative of the U. S. State Departmeent to negotiate an exchange of American and Soviet films. This article says that Soviet Premier Nikita Khruschchev invited Johnston to have dinner with his family, the first time, it was believed, that Khrushchev had ever introduced an American to his family. Motion Picture Association of America (MPAA) Soviet Union Khrushchev, Nikita Eisenhower administration , news motion pictures USSR non-USA motion pictures, and foreign markets motion pictures, and foreign policy Eisenhower, Dwight D. presidents and new media Eisenhower, Dwight D., and motion pictures Johnston, Eric Johnston, Eric, and USSR MPAA Motion Picture Export Association Khruschchev, Nikita, and motion pictures motion pictures, and Nikita Khruschchev Khrushchev, Johnston Talk 18210 KI [Kinsey Institute] Stag Film List Kinsey Institute Library Film and Video Collection This list, compiled by the Kinsey Institute, gives an indication of how many pornographic movies were shot on 8mm and 16mm motion picture cameras prior to the late 1960s. It is at the Kinsey Institute Archives, Indiana University, Bloomington, IN. Indiana -- Bloomington -- Indiana University -- Kinsey Institute Archives Kinsey, Alfred C. archives sexuality sexuality sexuality archives motion pictures and popular culture motion pictures 8mm 16mm 8mm film, and nudity 8mm film, and pornography nudity 16mm film, and nudity 16mm film, and pornography pornography pornography, and Kinsey Institute Kinsey Institute motion pictures, and stag films 16mm film KI [Kinsey Institute] Stag Film List 890 The Kineto-Phonograph The Electrical World
June 14, 1894
XXIII 24 799-801 This article attempts to provide an explanation for the new invention of moving pictures. One interesting piece of information is the speed with which photographs can be taken and then shown when run through a projector. “Forty-six impressions are taken each second, which is 2,760 a minute and 165,600 an hour; or, as Mr. Dickson has graphically put it, ‘were the spasmodic motions added up by themselves, exclusive of arrest, on the same principle that a 800/801 train record is computed independent of stoppages, the incredible speed of twenty-six miles an hour would be shown.’” (quotation pp. 800-801)
The article goes to conclude: “As to the future of this most ingenious and interesting bit of mechanism, time only will demonstrate whether it is to be a mere scientific toy or an invention of real practical value.” (801) photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, instantaneous motion pictures, and number of pictures electricity sound recording motion pictures, and sound recording sound recording, and motion pictures electricity, and motion pictures motion pictures, and electricity photography and visual communication photography, instantaneous photography, and speed of The Kineto-Phonograph 770 The Kinetoscope The Times [London]
Oct. 18, 1894
4 This article discusses Thomas Edison's new invention, the Kinetoscope. theater stage motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and new art form Edison, Thomas Edison, Thomas, and motion pictures Edison, Thomas, and kinetoscope motion pictures, and Thomas Edison non-USA motion pictures, and Great Britain Great Britain, and motion pictures Great Britain The Kinetoscope 16730 Kingsley International Pictures Corp. v. Regents of the University of the State of New York. 360 U. S. 684 (1959) 1959 Several decisions by the U. S. Supreme Court made it more difficult to prosecute obscenity and exercise control over immorality during the late 1950s and 1960s. In 1959 the Court lifted a ban on the showing of the French film Lady Chatterley’s Lover (1957). New York censors had rejected the movie because it presented adultery “as being right and desirable for certain people under certain circumstances.” The Supreme Court ruled that the state had tried to regulate advocacy of an idea and “thus struck at the very heart of constitutionally protected liberty.” The Court said, in effect, that showing immoral activity, even in a favorable manner, was not obscene. U. S. Supreme Court self-regulation Production Code sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Christianity Supreme Court (U. S.) values Production Code (motion pictures) obscenity foreign films values religion law censorship and ratings censorship Catholic Church non-USA motion pictures, foreign motion pictures and popular culture motion pictures Production Code (motion pictures) Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, foreign motion pictures, and foreign Production Code, and foreign films Catholic Church, and foreign films foreign films, and Production Code (motion pictures) censorship, and foreign films motion pictures, and sex motion pictures, and sex motion pictures, and France motion pictures, and France motion pictures, and adultery motion pictures, and adultery obscenity, and motion pictures motion pictures, and obscenity court cases, and obscenity obscenity, and Supreme Court (U. S.), and obscenity Kingsley International Pictures Corp. v. Regents movie, Lady Chatterley's Lover Supreme Court (U. S.), and Lady Chatterly's Lover court cases Kingsley International Pictures Corp. v. Regents of the University of the State of New York. 18200 Kinsey Institute Collection, Photography Collection This collection, compiled by the Kinsey Institute, give evidence of the extent to which photography was used for pornography during the late ninteenth and twentieth centuries. It is located in the Kinsey Institute Archives, Indiana University, Bloomington, IN. Indiana -- Bloomington -- Indiana University -- Kinsey Institute Archives Kinsey, Alfred C. archives sexuality sexuality sexuality archives motion pictures and popular culture motion pictures 8mm 16mm 8mm film, and nudity 8mm film, and pornography nudity 16mm film, and nudity 16mm film, and pornography pornography pornography, and Kinsey Institute Kinsey Institute 16mm film Kinsey Institute Collection, Photography Collection 18190 Kinsey Institute Library Film and Video Collection This collection, compiled by the Kinsey Institute, is a good source on the numbers of pornographic films made, especially prior to the late 1960s. It is located in the Kinsey Institute Archives, Indiana University, Bloomington, IN. Indiana -- Bloomington -- Indiana University -- Kinsey Institute Archives Kinsey, Alfred C. photography archives sexuality sexuality sexuality archives motion pictures and popular culture motion pictures 8mm 16mm 8mm film, and nudity 8mm film, and pornography nudity 16mm film, and nudity 16mm film, and pornography pornography pornography, and Kinsey Institute Kinsey Institute photography and visual communication photography, and pornography 16mm film Kinsey Institute Library Film and Video Collection 37420 Korn's System of Electrical Telephotography Scientific American
Nov. 25, 1905
93 22 417-18 This article explains Arthur Korn's invention for sending picture electrically over telegraphy wires. "The problem of transmitting pictures, drawings, signatures, and the like over considerable distances is old; in fact, it dates back to the fifties of the nineteenth century. Many attempts have been made to solve it, but with scant need of success. Now, however, the difficulty seems overcome, judging from a lecture given on October 28, 1905, by Prof. Korn, of Munich, before the Electrotechnischen Verin (Electrontechnical Union) of Berlin, accompanied by demonstrations with the apparatus itself. Prof. Korn's apparatus is able to transmit a perfect copy of a carte de visite within a brief space of ten minutes, and, should it be found practicable by the German postal authorities, who are now testing it, it will inaugurate a new era in connection with press work, criminal investigation, transmission of photographs of fugitives from justice, etc. We will now describe the apparatus itself...." (417)
As regard the speed of this invention which "can also be used for the transmission of handwriting": "At present from 500 to 600 words can be transmitted per hour, giving an exact replica of the original; or a stenographed message of 3,000 words can also be telephotographed in the same time." (418) post office journalism future magazines, and photography facsimile magazines photography electricity theaters electricity, and theaters electricity, and photography photography, and electricity photography and visual communication motion pictures electricity, and motion pictures motion pictures, and electricity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines television telegraph photography and visual communication telegraph, and photography photography, and telegraph future and science fiction telephotography Korn, Arthur, and telephotography seeing at a distance modernity modernity, and photography photography, and modernity Tesla, Nikola materials materials, and selenium non-USA Germany Germany, and photography by wire Germany, and telegraph telegraph, and Germany facsimile, and telegraph telegraph, and facsimile duplicating technologies postal service postal service, and facsimile facsimile, and postal service postal service, and telegraph telegraph, and postal service American Korn's System of Electrical Telephotography 15680 The L-Shaped Room Bryan Forbes Columbia Pictures; Davis--Royal Films International
1962 (Great Britain); 1963 (USA)
Production company: Romulus Films, Ltd. Plot summary from American Film Institute Catalog: "Jane Fosset, a 27-year-old Frenchwoman, leaves her provincial home, moves to London, and spends a loveless weekend with an unemployed actor. She later discovers that she is pregnant, and she moves into a squalid [H]L-shaped room in a Notting Hill boardinghouse and arranges to have an abortion. After one interview with a mercenary Harley Street "gynecologist," she decides to have the child. While staying at the boardinghouse, she becomes involved with a fellow lodger named Toby, an unsuccessful writer. Their affair delights most of the other tenants who have befriended her--prostitutes and actresses--but angers Toby's friend Johnny, a Negro jazz musician living in the room next to Jane's. Johnny has learned of Jane's pregnancy, and after listening to the sounds of lovemaking coming through the paper-thin walls, he tells Toby of Jane's condition. Outraged, Toby leaves, and Jane, in a moment of despair, tries to kill her baby by taking some pills given to her by Mavis, the elderly actress who lives downstairs. But the abortion attempt fails, and Jane accepts with relief the fact that her baby will live. Although Toby returns, he is incapable of accepting a child that he has not fathered. He visits Jane when the baby is born and presents her with a copy of his first finished story, "The [H]L-Shaped Room." After leaving the hospital to return to France, Jane leaves the story in Toby's room. A note is attached: 'Darling Toby, it's a lovely story, but it hasn't got an ending. It would be marvelous with an ending.'"

"Note: Copyright length: 142 min. Released in Great Britain in 1962; running time: 142 min." self-regulation motion pictures, and Production Code Administration (PCA) abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA hybrid films motion pictures, and American interest films hybrid films, and abortion abortion, and American interest film Shurlock, Geoffrey The L-Shaped Room 17210 Ladies Home Journal
late 1940s, early 1950s
This publication, aimed at women, is a good source for finding color advertisements. Color ads were used by magazines throughout the twentieth century. During the late 1940s and early 1950s, they were widely used. women, and new media advertising, and public relations women propaganda public relations news and journalism books, periodicals, newspapers books, periodicals, newspapers color color, and magazines magazines, and color advertising, and color color, and advertising advertising magazines magazines, and women women, and magazines 37310 Largest Rotogravure Roller in World -- for Next Sunday's Tribune; 'Tribune' Makes World's Largest 'Roto' Cylinder Chicago Daily Tribune
Feb. 28, 1915
5 This article says that the "largest and heaviest rotogravure cylinder ever made was 'put to bed' last night in the Tribune's engraving department. Etched on its copper surface are the pictures which will be printed next Sunday in the Tribune's special eight page pictorial supplement, just a small sample of which is furnished with the paper today. The Mary Pickford picture was run off on the smaller auxiliary press for printing two-page inserts.
"The larger cylinder is 60 inches long and 47 1/2 inches in circumference. It weights 2,500 pounds....
"The Tribune is the only newspaper in Chicago to own and operate a rotogravure plant. It has taken experts six months to get the delicate and intricate machinery into shape to give the public the best and most accurate service attainable both as to art and to faithful reproduction.
"Adolph Boltz, who has been at work for weeks placing the heavy machinery in position and assembling the many part, left Germany two days before war was declared. Fred Geiger, New York representative of the company which has the American rights of the Martens methods, has been directing the work.
"Many of the special chemicals and delicate gelatin and carbon papers used in transferring the pictures to the copper surface have to be imported."
It is perhaps noteworthy that the Chicago Tribune's first rotogravure supplement was used to publicize a movie star, Mary Pickford. The New York Time's first rotogravure supplement, which appears in April 1914, was used to publicize the art work in the Altman collection. (emphasis added) journalism illustrations fame celebrity magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies non-USA non-USA, and rotogravure process rotogravure process, and Germany Germany, and rotogravure process Germany illustrations illustrations, and rotogravure press materials materials, and rotogravure process rotogravure process, and materials celebrity culture celebrity, and rotogravure process personality personality, and rotogravure process rotogravure process, and personality fame, and rotogravure process rotogravure process, and fame rotogravure process, and stars photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality rotogravure process, and Mary Pickford Pickford, Mary, and rotogravure process advertising history Pickford, Mary rotogravure Largest Rotogravure Roller in World -- for Next Sunday's Tribune; 'Tribune' Makes World's Largest 'Roto' Cylinder 1270 The Latest ‘Triumph of Science’ for Western Towns New York Times
June 30, 1907
SM 5 This article describes the showing of a moving picture in a tent. “At the rear of the tent is a moving picture machine mounted on a tripod, and a roll of film is brought from some hiding place of art treasure and put in place. Then follows the low hum of the machine, and more flickering upon the white muslin. The manipulator of the machine is equally erudite and recondite with the barker in front, and accompanies the pictures with an eloquence of description not to be imitated, except feebly, as I shall attempt to do. He keeps a few second ahead of the pictures that flash upon the muslin, so that no part of the thrilling story may be lost, and preliminary to the portrayal of the ‘tradegy’ he explains how the ‘great mori, spirchewel, and elevatin’ lesson’ came to be save to the world about as follows:….
“The machine stops buzzing, and we have see ‘de great mori tradegy’ in all its verisimilitude. We will come again and bring the children.”
The subtitle for the article reads: "Moving Pictures, and a Barker with a Copious Imagination that Deals with History, Portray the Killing of Stanford White." history motion pictures electricity, and motion pictures motion pictures, and electricity electricity motion pictures, and automobiles automobiles, and motion pictures motion pictures, and rural areas modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space democracy motion pictures, and democracy democracy, and motion pictures history and new media motion pictures, and history history, and motion pictures automobiles The Latest ‘Triumph of Science’ for Western Towns 39170 Laughter and Color in the New Italian Drama Current Opinion
July 1919
67 1 28-29 The subtitle for this article reads: "The New Drama of the Grotesque and the New Theater of Color." The latter part of the article discusses the Italian Achille Ricciardi, who as early as 1906 called for a "theater of color." The article reprints an excerpt from the Boston Transcript (perhaps by Isaac Goldberg) concerning Ricciardi's ideas. Quoting from the Transcript article: "'...We have too long been content to use color merely as a decorative element, overlooking the fact that, so to speak, it has a life of its own, a rich treasury of emotive connotations, and may be employed as a distinctly psychological factor, with traditions, combinations and climaxes all its own. In a fairly long preliminary discussion he [Achille Ricciardi] enters into an abridged history of color-values, carefully distinguishing previous attempts from his own. He insists that his innovation possesses primary esthetic significance. "Even the color of the clothes determines the psychology of the dramatic person .... In the development of the drama the color of the costumes follows the ascent of the emotions. Every event takes place in the special atmosphere, with its individual color...." (29)
"'...Do colors affect all persons the same way? And granted this, do colors affect all persons in the same way at the same time? If not, how can full use of the colors as a psychological factor be made? It should be remembered that Ricciardi is not concerned primarily with color as decoration or as symbol, but as a vital factor such as sound is in music. The innovator seems to feel the validity of this objection, for toward the close of his exposition he asserts that certain values of color -- he call them moral -- are widespread, such as red and blue for happy moods, and white for purity. Moreover, color in motion, production of contrasts, and so on, possess psychological effects of their own, and doubtless the words of the piece could suggest subtly the influences intended. Color, then, is here not the equivalent of other sensations; "but it modifies their tone and thus creates something sui generis."' (29)
"'Ricciardi seems to establish very firmly this position as the genuine innovator in this regard. By this time his experiments, intended to be made in France, may have already taken place. It is of interest to note how constant is the deference of both Scardaoni and Ricciardi (as well as more than one other of the innovators) to Greek models and ancient procedure. Behind all the agitation is a yearning for freedom. To Ricciardi, as to Scardaoni, there is something of the rite in drama; the former would even seek his ideal stage upon the Mediterranean, thus returning to the open air of the ancients. What better stage, indeed, for the pageantry of color!'" (29) theater theater religion religion, and color magic emotion decadence censorship censorship censorship color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations theater and stage color, and theater theater, and color Ricciardi, Achille, and color color, and Achille Ricciardi Italy non-USA Italy, and color in theater non-USA, and color in theater lighting lighting, and theater theater, and lighting censorship and ratings color, and censorship censorship, and color magic, and color color, and magic color, and music media effects color, media effects media effects, and color color, as psychological factor Laughter and Color in the New Italian Drama 540 Lecture by Burton Holmes Chicago Daily Tribune
Nov. 20 1897
4 During the lecture Holmes "regaled their eyes with richly colored stereopticon views of the blood-red granite cliffs of Corsica and its picturesque villages and castles…” “The moving pictures at the close are of the best. The most laughable one given last night was that of Neapolitans eating macaroni, and the best was the dash to a fire by the Omaha department.”
The subtitle of this article reads: "Takes an Audience at Central Music Hall on a ‘Cycling Trip Through Corsica’." history photography motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel education motion pictures, and education education, and motion pictures color motion pictures, and color color, and motion pictures color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication Lecture by Burton Holmes 36400 Legion Labels Film: 'Suddenly, Last Summer' Is 'Separately Classified' New York Times
Dec. 4, 1959
36 This article notes that the Legion of Decency has give Columbia's movie, Suddenly, Last Summer, which had such themes as homosexuality and cannibalism, as "Separately Classified" rating. Other films recently given this rating were Anatomy of a Murder, The Case of Dr. Laurent, and Martin Luther. classification self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Suddenly, Last Summer (1960) motion pictures, and foreign markets motion pictures, and American-interest film Legion of Decency Legion of Decency, and classification classification, and Legion of Decency classification Legion Labels Film: 'Suddenly, Last Summer' Is 'Separately Classified' 2210 Legion of Decency Papers This collection pertains to the Roman Catholic Legion of Decency, created in 1934 to bring pressure on the motion picture industry. There is an index arranged alphabetically by film title. The file card indicates when the movie was reviewed and volume the Legion's rating appeared in. There were 21 file card drawers (3x5 cards). Then there were 40 file drawers (plus half dozen more file drawers in another room) with folder with correspondence arranged alphabetically by film title. The additional file drawers (6 or so) appear to be arranged around topic (e.g., "pornography," etc.). These latter files appear to be clipping files and offer a good array of published articles on different topics.
The Legion of Decency Papers has a good deal of material on the 1950s and 1960s, and less on the 1930s and 1940 (although there are three files on Howard Hughes' The Outlaw). There are also files on such films as And God Created Woman, and The Moon Is Blue.
These Papers are located at the New York Catholic Center, 1011 First Avenue, New York, NY. archives law censorship and ratings censorship archives Legion of Decency censorship, and Legion of Decency And God Created Woman The Outlaw The Moon Is Blue motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and Legion of Decency censorship, and motion pictures Christianity Catholic Church values Legion of Decency Papers 35290 Liberties Group Scores Film Code: Recent Changes Would Serve to Tighter Curbs on Movie Content, A.C.L.U. Says New York Times
April 24, 1957
29 In 1956, the Motion Picture Association of America revised its Production Code, relaxing restrictions on several topics including drug addiction, abortion, prostitution, and child kidnapping. The ACLU argued, however, that the changes actually served to give the censors greater power over films. The ACLU favored abandoning the movie Production Code. self-regulation , news motion pictures censorship and ratings Production Code Production Code, 1956 ACLU critics critics, and motion pictures Johnston, Eric Johnston, Eric, and Production Code Liberties Group Scores Film Code: Recent Changes Would Serve to Tighter Curbs on Movie Content, A.C.L.U. Says 27550 Librarians in Court, Again [editorial] Washington Post
Feb. 26, 1991
A A20 This article deals with the opposition of the American Library Association to the record keeping provision of the Child Protection and Oscenity Enforcement Act of 1988. presidents, and new media Reagan administration values sexuality obscenity Meese Commission First Amendment freedom censorship and ratings children censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography Child Protection and Obscenity Enforcement Act (1988) pornography, judicial setbacks American Library Association First Amendment, and pornography pornography, and First Amendment law values Reagan, Ronald children, and media Librarians in Court, Again [editorial] 15300 Like a Dream But It’s Real. Fiesta’s Dazzling Light Glow to Heaven Los Angeles Times
May 1, 1902
5 This article offers a description of electric lighting at a fiesta in Los Angeles. “It was a dream that man, the alchemist, had stored within the carbon’s subtle coil and loosed to share the splendor of the starry night. It was born with a gentle murmur and came upon the town by stealth. The streets were charmed with light and flame, and every passer was lured by color’s wondrous robes. The chancel of the evening’s worship was new lighted for a festival.
“The spectacle was one of varied beauty. Pendants of luminous bulbs stretched from pole to pole through the principal thoroughfares. From the hills that overlook the downtown portion it was a scene of fairy splendor. It lay palpitant [sic] in the breathing night like a great lily pad, gemmed with jewels, and from time to time the cyclopean eye of a search light stabbed through the gloom and pierced it with ivory….
“Shortly after 6 o’clock the lights on Broadway were tested, and at 7:15 all were turned on. A man was stationed in the middle of each block on each side of the street…. One Main and Spring streets Woodill & Hulse installed 4500 lamps, and on Broadway G. T. Bennett placed 2200….”
Note: Sub-headline: “Glory of Coloring; City Bright and Pretty”
“Los Angeles never looked prettier.
“Always a queen of beauty as a city, she can yet enhance her charms like a lovely woman by donning her most stunning gown. That is what she has done.
“The effect speaks for itself.
“The principal streets and stores are like miniature poppy pastures in their blaze of orange and green, the colors always indicative of Southern California spring. There is read, too, lots of it not the rosy red of the maiden’s blush, for Los Angeles has nothing to blush for save pride; but the rich, wine-red of the heart’s blood in its joyousness.”
The sub-title of this article reads: "Los Angeles Beautiful for Great Fete. Streets and Stores Wondrous With Color Elks Will Show Today." electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity advertising and public relations electricity, and advertising advertising, and electricity metaphors metaphors, and poppy field metaphors, and cyclopean eye metaphors, and jewels metaphors, and fairy splendor metaphors, and great lily pad advertising Like a Dream But It’s Real. Fiesta’s Dazzling Light Glow to Heaven 40320 Links Psychology to Study of Optics New York Times
Nov. 4, 1928
12 This article reports on an address given by Prof. Leonard Troland to the Optical Society of America on disagreement between two camps of psychologists, the "behaviorists" and the "introspectionists." Troland says that psychologist do not give property importance to optics and that optical scientist are (quoting Troland) are "'even more blind to the nature and the importance of psychology than the average psychologist is to the significance of optics.'" In his talk, Troland disagreed with the "behaviorists" whom, he said (quoting Troland) believed "'that the concept of mind is difficult if not impossible to use in scientific research.'" Troland claimed that several problems "'are not intentionally or adequately considered by any physical science.'" (Troland quoted) Among these problems "were color, musical tones and noises, and many qualitative phenomena, like those of feeling." (quoted from NYT article)
The subtitle to the article reads: "Dr. Troland of Harvard Urges Research Into Effect of Light Upon the Mind." Technicolor, and L. T. Troland Technicolor Münsterberg, Hugo Troland, Leonard color Troland, Leonard, and color color, and Leonard Troland Troland, Leonard, and visual sensation color, and media effects media effects media effects, and color Troland, Leonard, and hedonism Troland, Leonard, and sexuality sexuality sexuality, and Leonard Troland Troland, Leonard, and book review book review, and Leonard Troland Troland, Leonard, and Technicolor Technicolor, and Leonard Troland Troland, Leonard, and Hugo Munsterberg Munsterberg, Hugo, and Leonard Troland Troland, Leonard, and psychology Troland, Leonard, and physics Munsterberg, Hugo Links Psychology to Study of Optics 39940 Literary Perversities of Modern Novelists The Independent
Sept. 3, 1903
55 2857 2126-27 This article, appearing an a Congregationalist magazine, attacks what it sees as the perversity of modern novelists and their tendency to "agitate us with bloodstains, impossible situations and startling results. This is not literature. It is sensationalism reduced to a literary formula," the article contends. (2126) The authors of modern "fiction are not masters of the wisdom of life. They are primary interpreters who show only the prominent, bizarre features of existence." (2127)
"To see things in their true relation is intelligence, to be able to depict them so is art. This is why novels dealing with plague spots in society never are the best forms of fiction. Writers of this class have their minds focused upon excesses and abominations, things exceptional to the common order, and so developed as to sustain no true relation to the whole of society as it really exists." (2126) The article concedes, however, "That such novels do good is beyond question, even when, as Maurice Thompson once complained, the 'moral purpose' sticks out 'like the sting of a wasp.'" Still, the article says, that in present-day "such novels are not nearly so interesting or so effective as they once were." (2126)
The article describes the typical man and woman in the modern novel. "But not only is the modern novelist disposed to select extreme situations where there is some moral sickness, or where social disorder or political congestion renders conditions abnormal, but he shows a preference for artificially developed types. If not the more vulgarly vicious, it is the elegantly sensuous man and the exquisitely pagan woman who figure most frequently as the leading characters in his books. And when we 2126/2127 meet one of these calmly poised scamps wandering about in the ball room of the numerous society novels, we generally understand that he has a satyr hoof, concealed somewhere, and that often his lovely companion is only a poetic variation on the well-known scarlet women." (2126-2127)
The article suggests that depicting people in a natural, rather than artificial, settings is best. "Just so, the legitimate business of the literary artist is to select a credible situation, and to depict the individual in it who is typical of his kind. And the best setting for such characters is the original one of woods and fields. These are the only really native environment of mankind." (2127) The article contends that the modern novelist is uninterested in depicting the "the average life, the commonplace." (2127)
The article compares the modern novelist's "charlatan imagination" and stories to the colored billboard. "His conditions are false, and his characters are posters that flare out upon the billboards of literature, highly colored prevarications of the human nature they are supposed to represent." (2127) literature modernity modernity, and literature literature, and modernity new way of seeing literature, and sexuality sexuality sexuality, and literature color metaphors metaphors, and modern novels modernity, and novels novels, and modernity values values, and modern novels novels, and values morality, and novels censorship and ratings censorship, and modern novels values, and degenerate literature critics critics, and modern literature color, and billboards color, and posters censorship morality novels Literary Perversities of Modern Novelists 37330 A Little About 'Little Mary' Chicago Daily Tribune
Feb. 28, 1915
B 11 This article gives a short biography of Mary Pickford and then discusses the photograph of her that will be shown in the Tribune's using the paper's new rotogravure process. rotogravure journalism illustrations fame celebrity magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies non-USA non-USA, and rotogravure process rotogravure process, and Germany Germany, and rotogravure process Germany illustrations illustrations, and rotogravure press materials materials, and rotogravure process rotogravure process, and materials celebrity culture celebrity, and rotogravure process personality personality, and rotogravure process rotogravure process, and personality fame, and rotogravure process rotogravure process, and fame rotogravure process, and stars photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality advertising and public relations advertising, and Mary Pickford advertising history A Little About 'Little Mary' 19610 The Little Man Who's Always There Time
April 3, 1964
83 14 25-26 This article profiles Jack Valenti, then assistant to President Lyndon B. Johnson. Valenti became president of the Motion Picture Association of America in 1966. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti The Little Man Who's Always There 16240 The Living Picture Revealing Nature Moving Picture World
July 16, 1910
7 3 132-33 This article, which uses racist language no doubt common for its time (e.g. Asians are referred to "the yellow races"), notes that instantaneous photography which, for example, can capture the opening of a rose, reveals that "Oriental Art" had captured something of the natural world that western art had missed. "Instantaneous photography catching animals and birds in every possible motion, has shown that some how the slant eye of the Oriental had caught some of those positions the European eye had failed to detect; the 'grotesque' position were positively true; the 'impossible' was actually life like. science art photography motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures science, and motion pictures motion pictures, and science motion pictures, and instantaneous photography motion pictures, and race photography and visual communication photography, and art art, and photography photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing The Living Picture Revealing Nature 6530 Living Pictures at Home Chicago Daily Tribune
Dec. 26, 1897
28 Written in 1897, this article reports on the invention of a home movie camera and how it allows the user to recall dead family members. “The pang of death’s parting is somewhat lessened by the fact that we can now have a photograph album around the house by which it is possible to reproduce not only the face and form of some loved one, but also their every characteristic, as shown in their walk and other movements. S. Lubin of Philadelphia has succeeded in designing a machine for taking these picture and for showing them, which is so compact that it can be carried into one’s parlor or favorite lounging-room and a sheet of pictures secured that will in after years show departed kinsmen or some domestic scene in which a family group may be shown, all as in life. Mr. Lubin has designed a cineograph which is so compact that it is exceedingly portable, and can be set up in any room without any special arrangement.
“A picture of this kind proves more satisfactory than an expensive oil painting, which can never portray the love and affection that goes with a found glance or the merry twinkle of the eye of a 4-year-old.” A drawing of this camera accompanies the article.
The subtitle to this article reads: "Philadelphian Invents a Portable Cineograph for Use as a Family Album." illustrations home history motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Lubin, S., and home movie cameras home entertainment motion pictures, and Cineograph modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space cameras, illustrations illustrations, and cameras illustrations Living Pictures at Home 6340 The Loss of Bunny New York Times
April 27, 1915
12 The New York Times commented on comedian John Bunny's fame as a result of film: “Thousands who had never heard him speak, in numberless [sic] towns he had never visited, recognized him as the living symbol of wholesome merriment. Therefore his loss will be felt all over the country, and the films which preserve his humorous personality in action may in time have a new value. It is a subject worthy of reflection, the value of a perfect record of a departed singer’s voice, of the photographic films perpetuating thee drolleries of a comedian who developed such extraordinary capacity for acting before the camera.” history fame celebrity actors acting photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures history and new media motion pictures, and history history, and motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality Bunny, John The Loss of Bunny 31730 A Lot More than Meets the Eye: Critics to the Contrary, B. B.'s Appeal Is Not Limited to Her Body Life
June 30, 1958
44 57-58 One of several articles in mainstream U. S. magazines publicizing Brigitte Bardot after her movie And God Created Woman. magazines Bardot, Brigitte magazines, and sexuality sexuality women women, and magazines magazines, and sexuality motion pictures motion pictures, and Brigitte Bardot A Lot More than Meets the Eye: Critics to the Contrary, B. B.'s Appeal Is Not Limited to Her Body 14370 Lurid Signs of Movies Flaunt Bid to Prurient. Promises Scenes of Immorality, but Fail to Make Good Chicago Daily Tribune
Aug. 25, 1918
10 This article notes that “Saturday night pedestrians in the Madison street movie Rialto blinked their eyes last evening and looked again. In a blaze of electricity their gaze met lurid signs and wild pictures suggestive of all the scenes of immorality that a film could well show to a curious public.
“Shortly after the suspension of Maj. Funkhouser as inspector of city morals The Tribune exposed the billboard methods of many movies houses in trying to tempt the public inside to set a scandalous bit of high life or a girl gone wrong. For a few weeks the signs disappeared. But they are back in force now….
“‘Will a girl go wrong for bread?’ was one subtle question with which it worked on the psychology of the man with a little time and the price of admission, plus war tax. ‘See traps of the underworld exposed’ was another sign, and ‘See the lure of the country girl to wine rooms.’ Under a picture of wild night life is another caption: ‘Exposure of the fast life of the bohemian set.’
“Working back toward State street another large electric sign used the old drawing card of ‘For adults only.’ …and ‘No children admitted.’” children Chicago, IL censorship actors acting actors acting motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity motion pictures, and Chicago Chicago, and motion pictures actors, and status of censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings violence violence, and motion pictures motion pictures, and violence motion pictures, and crime children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children sexuality motion pictures, and sexuality sexuality, and motion pictures censorship, and sexuality sexuality, and electricity electricity, and sexuality values values, and motion pictures values, and advertising advertising, and values advertising Lurid Signs of Movies Flaunt Bid to Prurient. Promises Scenes of Immorality, but Fail to Make Good 13390 M.P.P.D.A. Is Organized With Will H. Hays at Helm Exhibitors Herald [-World?]
[March 18, 1922?]
37 This article deals with the appointment of Will H. Hays to head the Motion Picture Producers and Distributors Association. Motion Picture Association of America (MPAA) self-regulation Production Code PCA Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA motion pictures and popular culture motion pictures Hays, Will H. MPPDA MPPDA, and Will Hays Quigley, Martin Production Code (motion pictures) M.P.P.D.A. Is Organized With Will H. Hays at Helm 13340 Machines Talk for Hearstites; Graphophones and Moving Pictures Enter Campaign Los Angeles Times
Oct. 10, 1906
I 4 This article discusses William Randolph Hearst's use of movies and the phonograph in his election campaign. politics history history historical preservation motion pictures history and new media motion pictures, and history history, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph history, and sound recording sound recording, and history politicians, and new media politicians, and motion pictures politicians, and phonograph Hearst, William Randolph Hearst, William Randolph, and motion pictures Hearst, William Randolph, and gramophones Hearst, William Randolph, and phonograph motion pictures, and William Randolph Hearst phonograph, and William Randolph Hearst Machines Talk for Hearstites; Graphophones and Moving Pictures Enter Campaign 15340 Madaj Collection This collection in the Archdiocese of Chicago Archives and Record Center has a good deal of information on Joseph Breen, who worked for the Archdiocese of Chicago as a public relations man during the 1920s. It has had information on the Archdiocese reaction to motion pictures and other new media of the time. This Collection is at the Archdiocese of Chicago Archives and Record Center, Chicago, IL. self-regulation Production Code values religion Production Code (motion pictures) Production Code (motion pictures) archives motion pictures and popular culture motion pictures Mundelein, George Cardinal Breen, Joseph Production Code, and primary sources Breen, Joseph, and public relations Madaj Collection 39340 The Magic of a Book Methodist Review
Sept. 1914
696-706 This article has some lovely quotations and metaphors about the values of books. "In coming with golden keys to the great doors of life, in opening the ways to long vistas of wonder and beauty, in the interpreting and transforming and glorifying touch, mighty magicians are to be found in the libraries of the world. Books are full of magic. 697/698 They come to us with a mystic wand, and if we surrender to their spell they transport us to a new world. It will be worth our while to think informally and somewhat discursively of the Magic of a Book. In the first place, a library is like an enchanted forest. In the branches of its trees there perch large flocks of ideas, like flocks of birds, and the skillful hunter can come home after a day of sport, his hunting bag full of game. He can bring home as many ideas as he can carry. To go hunting for ideas is the rarest sport in all the world and to capture a live idea makes a day indeed notable." (697-98) This article continues: "Another characteristic of the magic to be found in libraries is the fashion in which some books have imprisoned emotions and set them singing like birds in a cage...." (700) Then: "Going farther, we may say that the magic of a great book is seen in the subtle metempsychosis by which it can take us inside other lives.... The power of cutting an entrance into men's souls was the possession of Robert Browing....." (701)
Books can expand our experience and allow us to transcend time and place. "Now the thing which ... books do is just the thing we need to do and find it hard to do, the breaking of the barriers of our own lives so that we actually experience the meaning of other lives. In exact literalness you can speak of the thousand-souled Shakespeare; but the important thing is that he makes the reader have a thousand souls. He multiples his personality -- or, rather, he increases it -- by a sort of amazing geometrical progression. Then a book has the power of abolishing time and space....
"Historical novels may be both good history and good fiction and a revelation of human life at the same time...." (703)
"But space as well as time is abolished if in the sense of which we are speaking space is not a sort of time spread out geographically.... The supreme books of the world not only bring ideas for the mind, an enrichment of the emotional nature and an enlargement of the sympathies; they also bring food for the will." (703)
Finally, although "Thought and feeling and purpose and power are imprisoned in the books of the world," (706), the this article also concludes that "the magic of the book may be seen in the books which have the keys to Paradise." Here the Bible is held up as the "apex and supreme glory," a library in itself. magic books, periodicals, newspapers books, and magic magic, and books as magic metaphors metaphors, and books Review books The Magic of a Book 2470 The Magic Wand of Color Reader's Digest
Aug. 1939
35 208 112 See filed under Reader's Digest. This brief piece talks about how the use of color transformed a dinner party and how color was being used in factories. color The Magic Wand of Color 15700 Makes Moving Pictures Talk Chicago Daily Tribune
Sept. 2, 1903
1 This article claims that a German inventor has succeeded in making a talking moving picture. The subtitle to this article reads: "German Inventor [Oskar Messier] Succeeds in Efforts to Combine the Phonograph and Photograph Machine." motion pictures motion pictures, and color color, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Germany non-USA Germany, and sound films non-USA, and sound films motion pictures, and talking films (origins) color Makes Moving Pictures Talk 42480 Making a Motion Picture of a One Hundreth Second Shutter Exposure Scientific American
June 3, 1916
114 1 589 This brief article begins by saying that "Producing a motion picture film containing 100 pictures of a camera shutter exposure of the order of 1-100th second, each picture showing a distinct location of the shutter leaves at intervals of 1-1000th second and allowed an exposure of but 1-30000th second, appears at first to be a difficult task. Yet an apparatus for just such a purpose has been developed in the research laboratory of a leading American camera manufacturer for the purpose of testing camera shutters." (589) photography and visual communication photography modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space history and new media history, and photography photography, and history news and journalism newspapers, and photography photography, and newspapers newspapers, and history cameras, and speed of electricity photography, and speed of photography, and magnesium photography, and lighting lighting, and photography photography, and high speed cameras, and shutter speed photography, and shutter speed motion pictures, and shutter speed motion pictures, and speed of camera cameras history lighting motion pictures Making a Motion Picture of a One Hundreth Second Shutter Exposure 37360 The Making of Advertising Pictures Has Become a Genuine Art New York Times
May 17, 1914
SM 4 In this interview, illustrator Mortimer W. Loewi talks about the changes that have occurred in display advertising over the past 12 or 15 years (since the turn of the century). They involved using photographs, "star" actors, and color, among other things.
"In a dozen years the business of display advertising has been more than evolved, it has been revolutionized," the article says. Loewi recalls that "'When I was studying... it was taken for granted that there was a great gulf between commercial work and any sort of art.'" In 1914, Loewi says that one word that summed up advertising demand was "suggestion." The older advertising set out a commodity "in great detail" where as "the advertising of to-day suggests it," according to the article. "An illustrated advertisement used to present an article. Now it suggests it benefits. And sometimes the suggestion if very subtle indeed." In advertising men's fashion, Loewi explains that he "had a lot of photographs made. And then I painted the fashion picture right on the photograph. The fashion picture was just the same old type of advertising, but I gave it a background."
Loewi notes that advertising drew on developments taking place in the world of theater and acting. "'Then we got a new idea. We showed our clothes with pictures from popular plays. That was about the time, I think, that magazines were beginning to make such a feature of theatrical photographs. We ran a series of advertisements with scenes from the play on one side, and the star dressed in our clothes on the other. You see, that was interesting. It gave a new idea to clothing advertisements -- the idea of connecting them with something of general interest and association. People looked at those pictures. They read those advertisements. They were interested in them, couldn't help being.
"'And all this time the pictures of the people in the advertisements were getting humanized...."
Loewi says that he did scenes from Europe (e.g., Rome, Paris) "in color, and they were used as posters and showcards as well as prints in magazine advertisements. The picture of the place was the background; in the foreground was a man or a group of men dressed in the clothes we were advertising. The idea was "to convey the suggestion or something cosmopolitan and distinctive." (emphasis added)
Loewi notes the pay for his field has gotten much better. Often a $1,000 for a picture large enough for a double-page ad and $500 for smaller paintings. status of actors stars (actors) fame fame celebrity art art celebrity culture photography photography and visual communication photography, and art art, and photography color color, and advertising advertising, and color advertising and public relations advertising, and art art, and advertising advertising, and photography photography, and advertising advertising, and posters posters, and advertising color, and posters posters, and color magazines, and advertising advertising, and magazines modernity advertising, and modernity modernity, and advertising new way of seeing advertising, and new way of seeing new way of seeing, and advertising advertising, and travel photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality advertising, and celebrity culture celebrity, and advertising advertising, and fame fame, and advertising personality, and advertising advertising, and personality stars, and advertising stars, and color personality advertising magazines posters The Making of Advertising Pictures Has Become a Genuine Art 41920 Making the Night Bright Los Angeles Times
Nov. 28, 1915
VIII 8 This article describes the way in which electric lighting has transformed night life along the Great White Way of Los Angeles. It talks about the use of electricity in advertising and the use of "sign language art." It observes that there are three ways of lighting buildings -- high-candle-power lights that are placed on the sides of buildings; using many small lights to outline the structure of buildings; and the use of flood lights. The article quotes extensively Charles M. Masson (?) of the Edison. Of motion pictures use of high-candle-power gas-filled lamps attached with reflectors, he said: "'Our friends the "movies" have adopted this scheme, and it is these sort of lights at Universal city which make possible "electric sunshine."'" Edison, Thomas electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time electricity, and time electricity, and space electricity, and travel lighting lighting, and electricity electricity, and lighting advertising and public relations electricity, and advertising advertising, and electric light advertising, and electric signs electricity, and electric signs electricity, and motion pictures motion pictures, and electricity advertising, and sign language art electricity, and lighting electricity, and flood lights lighting, and flood lights lighting, and electricity electricity, and Edison company motion pictures, and Edison company Edison company, and motion pictures Edison company, and electric lighting advertising motion pictures Making the Night Bright 14950 'Making-Up' for Movies; Regard Must Be Had for Vagaries of the Photographic Film Los Angeles Times
July 9, 1916
II 2 This article notes that the use of color by actors for make-up produces various shades of gray. It discussing its use for mulattos and blacks. photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication motion pictures, and race race, and motion pictures race 'Making-Up' for Movies; Regard Must Be Had for Vagaries of the Photographic Film 25210 Maljack Productions, Inc. v. Motion Picture Association of America. 1990 U.S. Dist. LEXIS 13284 (Oct. 3, 1990) (Civil Action No. 90-1121) // 311 U. S. App. D. C. 224; 52 F. 3d 373; 1995 U.S. App. LEXIS 9675 (April 28, 1995) (No. 93-7244)
May 14, 1990
Oct. 3, 1990 LEXIS 13284 (Civil Action No. 90-1121) This case involved a 1990 suit in Federal count in Washington, D. C. challenging the X rating that the motion picture industry gave to Maljack Productions' film, Henry: Portrait of a Serial Killer. The movie was a brutally explicit docudrama based loosely on the story of mass murderer Henry Lee Lucas. Maljack, an Illinois-based independent film producer involved primarily with distributing videocassettes, was not an MPAA member. Filmed with then little-known actors during the winter of 1985-1986, the movie was about a psychopathic drifter, Henry (played by Michael Rooker) and his former prison buddy, Ottis (played by Tom Towles) who savagely murdered strangers and did so utterly without remorse. In one scene, the pair invade a home and record their murder of a family on videotape. The movie seemed too realistic for a typical slasher picture. The Classification and Rating Administration gave the movie an X in March, 1988, because of its violence. Early the next year, Maljack surrendered its ratings certificate and released the picture unrated. When it was shown in Chicago and New York it sparked exchanges between those who thought it exemplified brilliant film making and those who thought it too gruesome to watch. Because it lacked an R rating, Henry played in relatively few theaters. This case was dismissed and the dismissal was later appealed. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings rating system (U. S.) archives law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship rating system (U. S.), and law challenges CARA, and law challenges CARA, and rating controversies rating system (U. S.), and controversies Henry: Portrait of a Serial Killer (1990) NC-17 X-rated films court cases, and X-rating court cases, dismissed Maljack Productions, Inc. v. Motion Picture Association of America. 25040 Maljack Productions, Inc. v. Motion Picture Association of America. 311 U.S. App. D.C. 224; 52 F. 3d 373; 1995 U.S. App. April 28, 1995 LEXIS 9675 This case involved a 1990 suit in Federal count in Washington, D. C. challenging the X rating that the motion picture industry gave to Maljack Productions' film, Henry: Portrait of a Serial Killer. The movie was a brutally explicit docudrama based loosely on the story of mass murderer Henry Lee Lucas. Maljack, an Illinois-based independent film producer involved primarily with distributing videocassettes, was not an MPAA member. Filmed with then little-known actors during the winter of 1985-1986, the movie was about a psychopathic drifter, Henry (played by Michael Rooker) and his former prison buddy, Ottis (played by Tom Towles) who savagely murdered strangers and did so utterly without remorse. In one scene, the pair invade a home and record their murder of a family on videotape. The movie seemed too realistic for a typical slasher picture. The Classification and Rating Administration gave the movie an X in March, 1988, because of its violence. Early the next year, Maljack surrendered its ratings certificate and released the picture unrated. When it was shown in Chicago and New York it sparked exchanges between those who thought it exemplified brilliant film making and those who thought it too gruesome to watch. Because it lacked an R rating, Henry played in relatively few theaters. The 1990 suit was originally dismissed. Maljack appealed the dismissal. See Maljack Productions, Inc. vs. Motion Picture Association of America, 311 U. S. App. D. C. 224; 52 F. 3d 373; 1995 U.S. App. LEXIS 9675 (April 28, 1995) (No. 93-7244). This case (1995) reversed the district court’s order dismissing the original complaint. The court now remanded the case for additional proceedings. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) archives law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship rating system (U. S.), and law challenges CARA, and law challenges CARA, and rating controversies rating system (U. S.), and controversies Henry: Portrait of a Serial Killer (1990) NC-17 X-rated films court cases, and X-rating Maljack Productions, Inc. v. Motion Picture Association of America. 16250 Many Minds. Opinions Vary on Movies in Schools Los Angeles Times
April 4, 1916
II 5 This article reports on conflicting views about using motion pictures in the classroom. The article's subtitle reads: "Board Can’t Agree, Therefore Asks More Light." Los Angeles children modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures motion pictures, and Los Angeles Los Angeles, and motion pictures motion pictures Many Minds. Opinions Vary on Movies in Schools 38130 Marvelous Electrical Inventions Displayed New York Times
April 13, 1901
2 This article discusses several inventions on exhibit including the Cooper Hewitt mercury vapor lamp and "H. R. Palmer's 'fac simile [sic] picture telegraph." The latter "instrument is worked on a system whereby half-tone pictures, sketches, handwriting, and the like can be transmitted over long distances by employing ordinary telegraph circuits. The original picture is enlarged for transmission, but is photographically reduced to its normal size when received. The enlargement is for the purpose of obtaining a greater contact surface for the transmitting stylus.
"An attempt was made to send three pictures to Chicago, the instrument on exhibition having been connected with telegraph wires, but the experiment failed this time, although the efficacy of the appliance has previously been demonstrated over great distances. Late at night word was received from Chicago that attempts had also been made to send pictures here [New York ] from there, and the explanation for the failure was tat the wires had been rendered useless by too much induction at this end."
The subtitle of this article reads: "Attractions at a 'Conversazione' at Columbia University; Effect of Peter Cooper Hewitt's New Light -- The Deaf Made to Hear -- An Experiment that Failed." journalism magazines, and photography photography telegraph photography and visual communication telegraph, and photography photography, and telegraph news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines lighting lighting, and Cooper Hewitt mercury vapor Cooper Hewitt mercury vapor lighting facsimile electricity, and photography photography, and electricity electricity Cooper Hewitt lighting magazines Marvelous Electrical Inventions Displayed 2200 Maryland Censor Board Records
pre-1963
These are the records of the motion picture censorship board for the state of Maryland. There are a total of 34 boxes (1 cubic foot per) and 13 ledgers. For example, Box 11 is "Minutes -1945-1970"; and Box 19 -- "Film Analysis Cards I-M, Pre-1963." Minutes for any given meeting typically run a page or two. The pages are numbered consecutively. Often they give an account of theaters examined during the past week, eliminations from specific films (same information appears to be in the PCA files for specific films). Expense accounts given, information on individual board members (e.g., so-and-so, a former serviceman, had applied for reinstatement as a film measurer, etc.). Finanacial statements are given periodically. Occasionally there will be a more extended discussion of films (e.g., The Outlaw, April 24, 1946, p. 109, and Jan. 23, 1947, p. 187; or Parole from the Big House, May 22, 1946, p. 117).
The Minutes indicate that the Board cooperated with the National Legion of Decency (e.g., p. 141) on controversial fims (e.g., Father Murphy).
These Minutes are good if one is writing a general history of Maryland censorship -- most of the Minutes are cursory with some occasional substantive discussion of objections to individual films. It is usually impossible to determine the reactions of specific board membes from these Minutes.
These Records are at the Maryland State Archives, Hall of Records, Annapolis, MD. archives law censorship and ratings censorship motion pictures and popular culture motion pictures archives motion pictures, and state censorship motion pictures, and censorship censorship, and state censorship, and motion pictures censorship, and Legion of Decency The Outlaw Maryland Censor Board Records 2220 Maryland Censor Board Records (1916-1981)
1916-1981
These records contain a total of 34 boxes (1 cubic foot per) and 13 ledgers. For example, Box 11 is "Minutes -1945-1970"; and Box 19 -- "Film Analysis Cards I-M, Pre-1963." Minutes for any given meeting of the Maryland Censor Board typically run a page or two. The pages are numbered consecutively. Often they give an account of theaters examined during the past week, eliminations from specific films (same information appears to be in the PCA files for specific films). Expense accounts given, information on individual board members (e.g., so-and-so, a former serviceman, had applied for reinstatement as a film measurer, etc.). Finanacial statements are given periodically. Occasionally there will be a more extended discussion of films (e.g., The Outlaw, April 24, 1946, p. 109, and Jan. 23, 1947, p. 187; or Parole from the Big House, May 22, 1946, p. 117).
The Minutes indicate that the Board cooperated with the National Legion of Decency (e.g., p. 141) on controversial fims (e.g., Father Murphy).
These Minutes are good if one is writing a general history of Maryland censorship -- most of the Minutes are cursory with some occasional substantive discussion of objections to individual films. It is usually impossible to determine the reactions of specific board membes from these Minutes.
These Records are at the Maryland State Archives, Hall of Records, Annapolis, MD. archives law censorship and ratings censorship motion pictures and popular culture motion pictures archives motion pictures, and state censorship motion pictures, and censorship censorship, and state censorship, and motion pictures censorship, and Legion of Decency The Outlaw Maryland Censor Board Records (1916-1981) 21150 'Mature' Films % Jump in 1968 Hollywood Reporter
July 2, 1968
This article discusses the increase in motion pictures with so-called "mature" themes. This article appeared four months before the motion picture industry adopted its rating system. self-regulation Production Code PCA motion pictures, and sexuality sexuality sexuality sex values Production Code (motion pictures) motion pictures media effects media violence violence values religion law censorship and ratings motion pictures and popular culture Production Code (motion pictures) Production Code Administration (PCA) Production Code, and decline of motion pictures, and censorship censorship censorship, and motion pictures violence, and motion pictures motion pictures, and violence sex, and motion pictures motion pictures, and sex values, and motion pictures values 'Mature' Films % Jump in 1968 440 The Maude Adams of the Moving Picture Drama Chicago Daily Trubune
March 20, 1910
G7 The subtitle for the article reads: "Florence Lawrence, at Present Credited with Being the Most Popular and Highest Salaried Emotional Pantomimist in America, Plays 300 Roles a Year, Is Photographed 4,000,000 Times and Is Mistress of a Thousand Faces."
This article offers interesting information on motion picture acting and the role of the camera. In it, Lawrence talks about performing become movie cameras and mentions that her first moving picture was "Daniel Boone." In a time before sound film was commonly used, pantomime was an important skill and this article notes how this actress was able to use her facial expressions to convey many moods (hence the subtitle “Mistress of a Thousand Faces”) She emphasizes the importance of not looking directly at the motion picture camera.
Perhaps most interesting is how often the actress was photographed. For every foot of moving picture there were "fourteen separate and distinct photographs" and in a typical film of about 1,000 feet, there were therefore 14,000 photographs. "This is one day's work!" the article says. Over the course of one year, she will play perhaps 300 roles and she will have been photograph 4,000,000 times. The article notes that she is known worldwide and that she receives "'Mash Notes' from the World Over." The article is encircled with ten different pictures of the actress showing different facial expressions. journalism illustrations celebrity celebrity culture actors acting magazines photography photography and visual communication motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines fan magazines magazines, fan motion pictures, and cameras motion pictures, and acting acting, and cameras acting, and motion pictures motion pictures, and pantomime motion pictures, and movie stars movie stars movie stars, and cameras movie stars, and acting movie stars, and facial expression personality, and magnification of acting, and facial expression sexuality motion pictures, and sexuality sexuality, and motion pictures photography, and sexuality sexuality, and photography motion pictures, and stars motion pictures, and stars (origins) illustrations newspapers, and illustrations women, and motion pictures motion pictures, and women women personality actresses, and number of time photographed The Maude Adams of the Moving Picture Drama 13430 May Use a Kinetoscope. To Show Prosperity by Aid of Moving Pictures Chicago Daily Tribune
Aug. 25, 1900
4 The Republican Party considers using moving pictures to convey its message to the public. The subtitle of the article reads: "Republican National Committee Considers Proposition to Supply Novel Campaign Argument in Photographic Reproductions of Evidences of Returned Good Times Chairman Payne Says Letter of Contractors Will Not Change Labor Day Plans." politics history motion pictures history and new media motion pictures, and history history, and motion pictures politicians, and motion pictures May Use a Kinetoscope. To Show Prosperity by Aid of Moving Pictures 730 Mazie the Motor Maid Los Angeles Times
Jan. 18, 1914
VIII 5 This is a humorous story about a woman who goes to movies and sees film of herself being arrested by the traffic cop. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Mazie the Motor Maid 14160 McClellan Stops Moving Pictures Chicago Daily Tribune
Dec. 25, 1908
2 This article reports on censorship efforts in New York City. The article's subtitle reads: "New York Mayor Yields to Ministers and Fills Showmen with Dismay." censorship motion pictures motion pictures, and New York New York, and motion pictures religion religion, and motion pictures motion pictures, and religion critics critics, and religion censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and Chicago censorship, and New York McClellan Stops Moving Pictures 16190 Medical Cinematography The Times [London]
Oct. 29, 1910
8 This article reports on developments in using moving pictures in medicine. science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures science, and motion pictures motion pictures, and science motion pictures, and medicine medicine, and motion pictures Great Britain non-USA Great Britain, and motion pictures motion pictures, and Great Britain Medical Cinematography 2490 Meet the Color Engineer Reader's Digest
June, 1941
38 239 134-35 See filed under Reader's Digest. These excerpts taken from Future consider how color is being used in packinghouses, restaurants, operating rooms, classrooms, and in shoe manufacturing. color Meet the Color Engineer 16130 Memoirs v. Massachusetts [A Book Named "John Cleland's Memoirs of a Woman of Pleasure" et al. v. Attorney General of Massachusetts] (Memoirs v. Massachusetts) 383 U. S. 413 (1966) 1966 U. S. Supreme Court self-regulation Production Code literature Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom Memoirs case court cases, and Memoirs obscenity, and Supreme Court (U. S.), and Memoirs case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Memoirs case Cleland, John censorship, and states censorship, and literature literature, and censorship Fanny Hill case Memoirs v. Massachusetts [A Book Named "John Cleland's Memoirs of a Woman of Pleasure" et al. v. Attorney General of Massachusetts] 34520 The Mercurians: Society for the History of Communication Technologies Nov. 7, 2005 http://www.mercurians.org/ The Mission statement for the Mercurians reads: "The Mercurians began meeting in 1986 for the purpose of generating networks between people who share work and interests in the history of communication technologies, defining the field broadly. Our activities include publishing a semi-annual newsletter, Antenna, meeting annually at Society for the History of Technology (SHOT) conferences, organizing paper sessions for SHOT meetings, and pursuing contacts between meetings. Antenna serves both as a clearing house for readers and an informal forum for their ideas. We welcome contributions, including notices and queries about Mercurians' projects as well as short essays on their work. Antenna includes book reviews and other materials about conferences, museums, publications, archives, funding, and other pertinent materials." The Mercurians are a branch of SHOT, Society for the History of Technology. "Antenna" is the Society's newsletter. computers post office nationalism Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories Aeronautics and Space Communication Artificial Intelligence and Biotechnology Bibliographies Books, Periodicals, Newspapers Computers and the Internet Duplicating Technologies Electricity General Studies Government Information Storage Military Communication Motion Pictures Nationalism and Communication Photography and Visual Communication Postal Service Radio Sound Recording Telegraph Telephones Television Time and Timekeeping Advertising and Public Relations Capitalism Censorship and Ratings Children and Media Color Critics Democracy Digital Media Education Freedom Future and Science Fiction History and New Media Home and New Media Labor Law Materials Media Effects News and Journalism Non-USA Office Presidents and New Media References, Statistics, Timelines, Maps Religion Sexuality Values Violence War Women advertising children future history home photography The Mercurians: Society for the History of Communication Technologies 39950 The Mercury-Vapor Electric Lamp American Catholic Review
Oct. 1903
28 112 818-19 This article comments on the invention of Peter Cooper Hewitt's mercury-vapor lamp. "This light is considered beneficial on account of the absence of red rays, which are considered injurious to the eyesight. Its chief claim to consideration is its high efficiency, as seven times the amount of electrical energy would be consumed to obtain the same illumination from the ordinary incandescent lamp. As a practical source of illumination the lamp seems up to the present [1903] to be only moderately successful." (818) The article also says that the mercury-vapor lamps can be useful in the area of wireless telegraphy. (819) wireless communication electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting Hewett, Peter Cooper modernity modernity, and motion pictures electricity, and modernity new way of seeing electricity, and space and time space and time electricity, and time electricity, and space vacuum tubes vacuum tubes, and lighting lighting, and vacuum tubes lighting color color, and mercury-vapor lamps electricity, and mercury-vapor lamps wireless wireless telegraphy telegraph, and wireless wireless telegraphy, and mercury-vapor lamps mercury-vapor lamps, and wireless telegraphy motion pictures telegraph The Mercury-Vapor Electric Lamp 15870 Mercury Vapor May Work Wireless Marvels New York Times
Nov. 22, 1914
SM 9 This article reports that "Peter Cooper Hewitt Has Been Making Studies for Eighteen Years Which Promise to Result in Telephoning Between America and Europe, and in Other Miracles." wireless communication fame fame celebrity celebrity culture actors acting electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting acting, and lighting lighting, and acting motion pictures, and stars motion pictures, and celebrity motion pictures, and fame fame, and motion pictures celebrity, and motion pictures celebrity culture actors, and status of motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space vacuum tubes vacuum tubes, and lighting lighting, and vacuum tubes Hewitt, Peter Cooper telephones telephones, and trans-Atlantic telephones, and Peter Cooper Hewitt wireless radio Mercury Vapor May Work Wireless Marvels 520 Met Old Chief Lobo; Moving Picture Man Saw Stanley Guide in Africa New York Times
May 28, 1914
9 This article notes that a film has been made of the Congo River: “The distance traversed was 5,000 miles, the longest journey through a savage country that has so far ever been made by a moving picture outfit, he [explorer James Barnes] said.” history motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel Met Old Chief Lobo; Moving Picture Man Saw Stanley Guide in Africa 18430 Michael J. Curley Collection RG 1, Boxes 4 and 23 (B1244-B1913) (L601-L1254), Archives of the Archdiocese of Baltimore (AAB), Baltimore, MD This collection in the Archdiocese of Baltimore has material on Catholics and the motion picture industry. Box 4 contains correspondence from Joseph Breen writing as Eugene Weare in 1925-26. Box 23 has some correspondence from Daniel Lord in 1935 saying the "impression grows that big business and administration having recognized Moscow Commission is furthering Mexican tyranny, including communistic destruction of civil and religious liberties. Maryland -- Baltimore -- Archives of the Archdiocese of Baltimore archives Breen, Joseph, and 1920s Breen, Joseph, as Eugene Weare Lord, Daniel A., and communism motion pictures and popular culture motion pictures motion pictures, and Catholic Church motion pictures, and Joseph Breen motion pictures, and Daniel Lord Breen, Joseph Lord, Daniel A. Michael J. Curley Collection 17900 Milestone Movie Cameras American Cinematographer
Jan., 1969
50 1 78-79, 116 See filed under American Cinematographer (1969). This 1969 piece appeared in an issue devoted to the previous fifty years in the technology of cinema. This article deals with movie cameras and concentrates largely on the period before World War I (1914-18). corporations corporations color motion pictures and popular culture motion pictures motion pictures, and history of cameras motion pictures, and cameras cameras, and motion pictures Bell & Howell cameras, and Bell and Howell cameras, and Mitchell Milestone Movie Cameras 39510 Military Photography Scientific American
Aug.16, 1902
87 7 101 This article discusses the growing importance of military photography and notes that during the Spanish-American War and the Boer War that pictures were widely used in the illustrated press. Most military photographs, though, were not shown to the public. Many were of mundane matters which might give an idea of enemy terrain and troop movements and progress. The article discusses the use of cameras in balloons used by the American, British, and Russian military. The article also devotes a paragraph each to the use of camera technology by France and Germany. Cameras are becoming an important part of many military units. In addition to balloons, the article notes that bicycles were also mounted with cameras used for surveillance purposes. Other modern improvements include the use of magnesium lamps for night photography, better dark room tents, and telephotographic attachments for cameras. In short, much had changed over the past 10 or 15 years. photography and visual communication photography modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel history and new media history, and photography photography, and history news and journalism newspapers, and photography photography, and newspapers newspapers, and history history, and newspapers photography, and Spanish American War Spanish American War, and photography war war, and photography photography, and war military communication military communication, and photography photography, and military communication Boer War, and photography photography, and Boer War nationalism and communication photography, and nationalism nationalism, and photography non-USA non-USA, and military photography Germany France Russia Germany, and military photography France, and military photography Russia, and military photography Great Britain Great Britain, and military photography cameras lighting lighting, and magnesium lamps cameras, and telephoto lens telephotography American history nationalism Spain Military Photography 16150 Miller v. California. 413 U. S. 15 (1973) 1973 In Miller vs. California (1973), the U. S. Supreme Court upheld, in a 5-4 decision, a California law banning the knowing sale of obscene material. Chief Justice Burger rejected the Warren’s Court’s test for obscenity which required the matter in question to be “utterly without redeeming social value” – a standard that made it almost impossible to obtain convictions. Burger noted that this test which Justice Brennan had articulated in Memoirs vs. Massachusetts (1966) had never been supported by more than a plurality of the Court (no more than by three justices at any one time). In the Miller case, the Court also rejected a national standard for defining pornography and said instead that local community standards could be used by trial courts in obscenity cases. U. S. Supreme Court Miller v. California Supreme Court (U. S.) values archives sexuality obscenity values community law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases motion pictures, and freedom Miller case court cases, and Miller obscenity, and Supreme Court (U. S.), and Memoirs case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Miller case censorship, and states censorship, and community standards community standards, and censorship pornography pornography, and Miller case Miller case, and pornography pornography, and community standards Meese Commission Miller v. California. 30670 Mini-Gadget Movie Van Rolls into Hollywood Business Week
March 15, 1969
152-54 During the late 1960s, an Egyptian-born cinematographer, Fouad Said, created the Cinemobile, which made it easier to shoot movies and television programs on location. With the aid of the Bendix Corporation, a company that specialized in automobile and aviation equipment, and Lockheed, Said built a mobile movie studio about the size of a paneled truck that at first was used to film television shows and low-budget motion pictures. By 1969, the Cinemobile Mark V, which was built in Europe and shipped to Hollywood, was the size of a double-deck bus. It carried several hundred pieces of equipment, had an electronic kitchen that served sixty people, and could be loaded into a cargo jet and flown to most locations within 24 hours. Such studios as 20th Century Fox and Warner Bros.- Seven Arts saw that this studio on wheels could save them significant sums in larger budget productions. motion pictures -news motion pictures, and new technology motion pictures, and 1960s motion pictures, and location shooting Cinemobile Said, Fouad, and Cinemobile motion pictures, and cinemobile motion pictures, and internationalization Mini-Gadget Movie Van Rolls into Hollywood 15430 Miss Bates Tells How to Beat Movies New York Times
March 14, 1914
11 This article contains advice given to a graduating class of actors on how to “make your voice clear and distinct….” It also advises marrying someone outside their profession “as interests may clash.” theater stage history fame fame celebrity actors acting actors acting motion pictures theater and stage motion pictures, and stage stage, and motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, silent motion pictures, and oratory fame celebrity culture motion pictures, and fame motion pictures, and celebrity motion pictures, and stage actors celebrity, and motion pictures fame, and motion pictures status of actors actors, and status of personality motion pictures, and personality personality, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures women women, and motion pictures motion pictures, and women acting, and motion pictures motion pictures, and acting Miss Bates Tells How to Beat Movies 15800 Miss Rankin Bans Cameras New York Times
Nov. 17, 1916
4 Jeanette Rankin, the first woman elected to Congress, is hounded by cameramen, this article reports. Rankin is quoted as saying that “I positively refuse to allow myself to be photographed and will not leave the house while there is a camera man on the premises.” The article's subtitle reads: "Woman Congressman Elect Doesn’t Want to be Classed as a Freak." politics photography photography and visual communication photography, and politicians women women, and photography photography, and women politicans, and photography Rankin, Jeanette, and photography photography, and Jeanette Rankin photography, and reluctance to be photographed Miss Rankin Bans Cameras 38420 Modern Miracle Plays The Independent
Aug. 8, 1907
63 3062 351-53 The article begins by saying: "It is generally supposed that miracle and morality plays exist nowadays only survivals in such isolated communities as Oberammergau and as revivals on such occasions as the Oxford Pageant and the Been Greet performances. Really they have sprung up as a form of popular entertainment in the United States, quite spontaneously, ignored by antiquarians and without benefit of clergy. No summer resort, street fair, or recreation annex of an exposition is regarded as complete without one, and some of the amusement parks have two or three, running continuously afternoon and evening, seven days a week....
"The effective display of modern stage effects and electric lighting demanded grander themes than ordinary life afforded, so the Bible was drawn upon for appropriate material. At the Louisiana Purchase Exposition 'Creation' was introduced on the Pike and drew immense crowds at the unusually high price of fifty cents apiece. This was a revolving panorama presenting tableaus of the seven days of creation, beginning when the earth was without form and void and ending with the honeymoon of Adam and Eve. Appropriate passages from the first chapters of Genesis were recited during the spectacle. The success of this led to the establishment of other biblical spectacles and finally plays in which the vices and virtues were personified.....(351)
This article notes that some of the miracles plays use "life-size colored moving pictures of scenes in the life of Christ." (352) censorship words vs. images motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings images vs. words values religion theater, and values theater, and religion religion, and theater values, and theater education education, and theater theater, and education electricity electricity, and theater theater, and electricity motion pictures, and religion religion, and motion pictures theater Modern Miracle Plays 37750 Mojonier of Photo Fame Treks Over to Broadway Los Angeles Times
March 26, 1911
II 2 Mojonier is described as "one of the leading photographic figures in the West." The article says that "there isn't a daily newspaper in Los Angeles that doesn't decorate its columns, every few days, with Mojonier pictures." journalism fame celebrity celebrity culture photography, and celebrity culture magazines, and photography photography and visual communication photography, and celebrity photography, and cameras fame, and photography photography, and fame personality personality, and photography photography, and personality news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography, and daily newspapers magazines photography Mojonier of Photo Fame Treks Over to Broadway 16210 Molecular Motion Shown by Cinematograph The Times [London]
May 21, 1914
7 A report on a French physicist's invention. science photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures science, and motion pictures motion pictures, and science France non-USA France, and motion pictures motion pictures, and France motion pictures, and microphotography Molecular Motion Shown by Cinematograph 38960 The Morals of the Movies Outlook
June 20, 1914
387-88 This story begins with the parable of a fisherman who finds a bottle on the seashore and opens it to release an evil "jinn" who vowed to take revenge on whoever releases him. The fisherman manages to trick the jinn into returning to the bottle. In modern time, the jinn represents the movies. "This is a parable, it is plain to see, of the motion picture. Man's scientific curiosity is always getting him into trouble. It got him into trouble when he discovered gunpowder, the printing-press, the steam-engine; it has got him now into trouble when he has discovered the means of picturing motion on a screen. This modern jinn, which has been dubbed the movie, seemed as innocuous at first as so much smoke; but it has threatened something more valuable than life -- good morals and good taste. It is like every other such discovery -- it has incalculable potency for service. The thing to do is not to deplore the discovery, but to follow the example of the fisherman, and by the exercise of quick wit and sound judgment make this huge force a ready slave of humanity." (387) This author goes on to say that "In some way the moving-picture business must be put under restraint by the public." (387) immorality censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings values values, and motion pictures motion pictures, and values motion pictures, and immorality immorality, and motion pictures metaphors, and Aladdin metaphors, and jinn motion pictures, and magic jinn audiences, and motion pictures metaphors audiences The Morals of the Movies 420 Morals Thru the Movies The Independent
June 14, 1915
82 3471 484 (APS Online) This brief article comments on a series of films designed to persuade girls to conform strictly to "the moral code and the conventions...." (484) "The films bring out clearly the point that 'who pays' for any deviation from the path of propriety is not the one most to blame, but that the disastrous consequences spread widely." (484) motion pictures religion religion, and motion pictures motion pictures, and religion values women women, and sexuality sexuality, and women motion pictures, and women women, and motion pictures sexuality, and motion pictures motion pictures, and sexuality sexuality Morals Thru the Movies 37210 More Altman Gems For Times Readers New York Times
March 30, 1914
9 This article reports that the New York Times will publish a special edition of 250,000 copies with color pictures of art work using the rotogravure process. The article's subtitle reads: "Another Special Number Next Sunday to Contain 38 Rotogravure Reproductions. Easter Number Sold Out. 250,000 Copies with Splendid Color Section, Quickly Bought Up -- Praise from Art Experts." The article notes that the first rotogravure pictures had been published four years earlier (about 1910) in Germany in the Freiburger Zeitung.
"If the unqualified approval of artists and critics of art and the eagerness with which the general public bought out the newsdealers' supply all over the city may be accepted as proof, the Times achieved another notable triumph yesterday with its Easter Number containing thirteen gems of the Altman collection of old masters reproduced in color.
"The edition was limited to 250,000 copies and orders for more than that number were received at the Times office by Friday night. By yesterday afternoon very few copies were on sale anywhere in the city, and many newsdealers who had underestimated the demand for the paper were disappointed in their efforts to obtain an emergency supply. Telephone orders for 'more papers' began coming into the Times office at 6 a. m. and continued through the better part of the day, but no one was supplied. The Times did not have a paper to sell.
"But yesterday's Easter Number was only the forerunner of another special number to be published next Sunday which, in the opinion of many, will even surpass the Easter Number as an artistic achievement. Thirty-eight additional old masters from the Altman collection will be reproduced by the famous German rotogravure process. Rotogravure press built in Germany and having the latest improvements devised by Karl Klic, who perfected the process, have recently been installed in the Times Annex.
"The pictures to be printed will closely resemble original etchings, the rotogravure process being an elaboration of intaglio engraving combined with the highest development of the modern art of photography. The Freiburger Zeitung caused a stir in Europe four years ago when it published the first rotogravure pictures, and the improvements in the process have since been many and important."
The articles says the pictures will be suitable for framing and art experts praised the color. "In praise of the color section Robert W. de Forest, President of the Art Commission and Trustee of the Metropolitan Museum, said:
"'The reproductions are exceedingly fine. I consider them a very important contribution to the art education of the country. The Times has made it possible for thousands of people to have and display on their walls much of the best in the work of the old masters. I think that the service is of the highest importance....'" rotogravure journalism magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) rotogravure process, and Karl Klic rotogravure process, and intaglio engraving advertising history More Altman Gems For Times Readers 13960 More Cites Bar Fight Pictures Chicago Daily Tribune
July 7, 1910
3 This article deals with the showing of the film of the Jeffries-Jack Johnson heavyweight title fight. It lists cities where the fight cannot be shown. The article's subtitle reads: "Nine States ad Twenty-five Municipalities Closed to Film Shows Now. Owners Plan to Fight. Gov. Deneen Says It Is Not in His Power to Prevent Exhibits." sensationalism children Chicago, IL censorship motion pictures, and sports motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and boxing motion pictures, and race motion pictures, and violence violence, and motion pictures violence race race, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras motion pictures, and Chicago Chicago, and motion pictures violence violence, and motion pictures motion pictures, and violence More Cites Bar Fight Pictures 24110 Morning Report: Movies Los Angeles Times
July 13, 1987
6 (Calendar) 2 This article reports on Nancy Reagan, Jack Valenti, and such movie stars as Clint Eastwood and Dudley Moore and their efforts in the war on drugs. Motion Picture Association of America (MPAA) MPAA Wasserman, Lew Valenti, Jack presidents, and new media Reagan administration motion pictures Hollywood motion pictures and popular culture Reagan, Nancy Reagan, Nancy, and war on drug Reagan, Nancy, and Hollywood Valenti, Jack, and Nancy Reagan Wasserman, Lew, and Nancy Reagan Valenti, Jack, and drug use Hollywood, and war on drugs Weintraub, Jerry, and war on drugs Eastwood, Clint, and war on drugs Moore, Dudley, and war on drugs Midler, Bette, and war on drugs Weintraub, Jerry Morning Report: Movies 15440 The Most Beautiful Models in Germany Chicago Daily Tribune
July 26, 1903
A 5 This article is a about an artist who uses moving pictures of model who has grown tired of posing. The moving pictures helped to capture the real person. fame fame celebrity actors acting actors acting photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, silent motion pictures, and oratory fame celebrity culture motion pictures, and fame motion pictures, and celebrity motion pictures, and stage actors celebrity, and motion pictures fame, and motion pictures status of actors actors, and status of personality motion pictures, and personality personality, and motion pictures women women, and motion pictures motion pictures, and women acting, and motion pictures motion pictures, and acting photography and visual communication women women, and photography photography, and women women, and motion pictures motion pictures, and women sexuality photography, and sexuality sexuality, and photography Germany non-USA Germany, and photography photography, and Germany The Most Beautiful Models in Germany 20110 Motion Picture Association of America: Rating Sheets While these records have little on the ratings for specific movies, they do have information pertaining to Jack Valenti and such issues as video piracy of American motion pictures abroad. This material is in the Motion Picture and Television Reading Room, Library of Congress, Washington, D. C. District of Columbia -- Washington -- Library of Congress Motion Picture Association of America (MPAA) Classification and Rating Administration piracy MPAA National Association of Theatre Owners (NATO) CARA Classification and Rating Administration (CARA) magnetic recording video piracy archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA materials materials videotape magnetic tape non-USA motion pictures and popular culture motion pictures motion pictures, and video piracy video piracy, and MPAA MPAA, and video piracy Valenti, Jack Valenti, Jack, and video piracy Valenti, Jack, and MPAA motion pictures, and U. S. films abroad copyright Motion Picture Association of America: Rating Sheets 35180 Motion-Picture Distribution Trade Practices -- 1956: Problems of Independent Motion-Picture Exhibitors Hearings before Subcommittee of the Select Committee on Small Business, United States Senate, Eighty-Fourth Congress, Second Session March 21, 22, and May 21, 22, 1956 (Washington, D. C.: U. S. Government Printing Office, 1956) These hearings contain testimony from movie industry leaders about foreign markets for American films and the effect of those markets on film making. Several people note here that movies were now being made that appealed to international audiences rather than to strictly U. S. audiences. At this time, few Hollywood studios could break even on just the U. S. and Canadian market and foreign receipts accounted almost 50 percent of the studios' revenue. nationalism motion pictures motion pictures, and foreign policy motion pictures, and independent producers motion pictures, and foreign film motion pictures, and American-interest films CinemaScope VistaVision motion pictures, and CinemaScope censorship and ratings military communication motion pictures, and military motion pictures, and military censorship motion pictures, and foreign markets nationalism and communication motion pictures, and nationalism propaganda motion pictures, and Cold War Cold War war Motion-Picture Distribution Trade Practices -- 1956: Problems of Independent Motion-Picture Exhibitors 42600 The Motion Picture Industry World's Work
May, 1913
26 29 This brief article attempts to assess the extent of the motion picture industry in 1913. It says there are more than 20,000 theaters and they attract about 5 million people each day. The movie industry already ranks with investments made in copper, tin, and sheet iron product, with petroleum refining, and anthracite coal mining. "Perhaps an even more striking comparison is with the printing and publishing business, which is one of the oldest and most widely distributed of all industries. Motion pictures utilize more than a third as much capital as is used by that great business." (29)
This piece says that only "the manufacture of automobiles has recently shown such astonishing growth" (29) as movies which were shown commercially for the first time only 17 years earlier. Films also have become influential in education. "They reveal new possibilities to teachers of history and science, and they put a new weapon in the hands of social reformers and sanitary engineers.... Both commercially and educationally they are a remarkable and most useful addition to the resources of modern civilization." (29) motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and print culture theaters motion pictures, and theaters theaters, and motion pictures education education, and motion pictures motion pictures, and education The Motion Picture Industry 13210 Motion Picture Research Council Papers Hoover Institution Archives, Stanford University, Stanford, CA The Motion Picture Research Council Papers have information pertaining to the Payne Fund Studies, one of the earliest efforts by social scientists, to measure the effects of movie on American youth. California -- Stanford -- Stanford University -- Hoover Institution Archives archives motion pictures and popular culture motion pictures motion pictures, and social science motion pictures, and media literacy media literacy, and motion pictures Motion Picture Research Council archives motion pictures, and critics motion pictures, and anti-Semitism motion pictures, and actors' status motion pictures, and false leaders media literacy Motion Picture Research Council Papers 42030 Motion-Picture Schoolhouses to Prevent Future Wars Current Opinion
April 1919
66 4 234-35 This article quotes extensive from Thomas A. Edison on the educational value of motion pictures. “The best schoolhouse is the screen; the best teacher is the film,” the Wizard of Menlo Park claimed. “Human teachers will be needed only to help guide and direct the minds of the pupils, but the pictures will do the instructing.” (234) Edison thought the movie schoolhouse was one of the best hopes to prevent future wars. Edison saw movies as a pictorial supplement to newspapers. "The newspaper is the university of the masses," he said (234) He did not believe the daily newsreel would ever supplement the newspaper in the United States. "This is the land of the newspaper; we are a nation of newspaper readers," said Edison. (234)
The subtitle of this article is "Thomas A. Edison Foresees the Day When Movie Films Will Supplant Text-Books." journalism motion pictures news and journalism motion pictures, and journalism motion pictures, and newsreels journalism, and motion pictures education education, and motion pictures motion pictures, and education Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison children and media motion pictures, and children children, and motion pictures democracy democracy, and motion pictures motion pictures, and democracy children Motion-Picture Schoolhouses to Prevent Future Wars 37080 Motion Pictures: A Brief for Debate The Independent
March 5, 1917
89 3561 426-27 This article offers a useful summary, in outline form, of the case both for and against motion pictures as seen by many people in early 1917. On the affirmative side that movies provide a "desirable" form of entertainment are arguments that they fulfill a need for inexpensive amusement, are valuable for educational purposes in numerous areas, are socially valuable in reform and health campaigns, are good because liquor dealers oppose them, are useful because they can be used for good purposes by schools, churches, government, and industry. On the negative side are arguments that the movies are immoral, lower public taste and standards, harmful socially and physically, are a factor in causing Americans to behave extravagantly, and are a form of entertainment with minimal educational value. At the end of this article is a bibliography that supports both the affirmative and negative sides. Münsterberg, Hugo Munsterberg, Hugo children censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children theaters motion pictures, and theaters theaters, and motion pictures audiences audiences, and theaters theaters, and audiences theaters, as fire hazards critics critics, and motion pictures education motion pictures, and education education, and motion pictures motion pictures, and crime motion pictures, and new art form motion pictures, and psychology Münsterberg, Hugo motion pictures, and Hugo Münsterberg motion pictures, and Lindsay, Vachel motion pictures, and Vachel Lindsay motion pictures, and critics words vs. images images vs. words Motion Pictures: A Brief for Debate 14960 Motion Pictures Are Made to Talk New York Times
Aug. 27, 1910
8 This article reports that Thomas Edison has improved talking film. “In the newly perfected process the records and pictures are taken at the same time, a sufficiently sensitive record having been devised to catch and retain the slightest sound accompanying the portrayed action. Here has been the stumbling block in the effort to accomplish this result. Hitherto the pictures and records had to be taken separately. In the face of the difficulty of receiving in the horn the voices of the actors, and at the same time, having them move freely and as far as possible, dramatically around in an unobstructed range of the camera. The special recorder used for the kinetophone permits of the speaker being twenty feet away.”
The article reports that Edison also “hopes soon to have the pictures reproduce the natural color of the originals.” The article's subtitle reads: "Edison Invents a Machine that Combines the Kinetoscope and Phonograph; Records Taken Together; When the Pictured Man Acts the Voice in the Box Speaks, and Illusion Is Perfect." motion pictures motion pictures, and color color, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Edison, Thomas Edison, Thomas, and sound recording Edison, Thomas, and motion pictures Edison, Thomas, and color films color Motion Pictures Are Made to Talk 15860 Motograph History in the Making Moving Picture World
July 30, 1910
7 5 235-36 This article discusses the growing number of periodicals and books that cover moving pictures. “The periodical literature of the moving picture increases and expands with its popularity. Four years ago no periodical publication, specially treating of the moving picture, was in existence. Now, throughout the world, there are probably twenty or thirty publications which take charge of the interests of the industry. In the United States there are four; in Great Britain there are two; in Paris there are one or two; Germany, two or three; Italy, one or two; Sweden, Russia, Spain, Australia, each have moving picture publications.” (235) The article also cites growing number of books and specific authors such as Marey's work on Movement, Hopwood's book Living Pictures, and others including C. F. Jenkins and Cecil Hepworth. journalism journalism magazines, and photography magazines photography motion pictures news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines non-USA Great Britain France Germany Russia Spain Australia Italy Sweden non-USA, and movie periodicals Great Britain, and movie periodicals France, and movie periodicals Germany, and movie periodicals Russia, and movie periodicals Spain, and movie periodicals Australia, and movie periodicals Sweden, and movie periodicals Italy, and movie periodicals photography and visual communication Motograph History in the Making 710 Move As If Alive; How Pictures That Show Life Are Now Produced Chicago Daily Tribune
April 4, 1897
37 This article discusses how the moving picture camera works. “The projecting machines known as the variscope, magniscope, vitascope, biograph, cinematograph, and similar names consist essentially of a bright light, some lenses, and a means of moving the film across in front of the light.” Filming the recent prize fight in Carson City required about 8,000 feet of film using at least 125,000 pictures. Types of scenes filmed: “The picture of Dearborn street in the busy hours is only one of the numerous subjects constantly being reproduced by the moving picture machine.” “Photographing a moving train is one of the hardest of the views attempted so far by the moving-picture artists, and the great success met has encouraged them to try many other pieces of rapid motion. The wave rushing over the breakwaters along the lake shore, the exhibition of blooded animals at the Stock-Yards, snowball fights, fire drills,” and many others.
E. H. Amet, whose moving picture machine is discussed, “is convinced that the production of moving pictures is yet in its infancy, and hopes for great things. The introduction of some successful method of color photography, such as that reported to have been discovered across the water, will greatly add to the attractiveness of the views.
“By a possible phonographic attachment these colored views may be run with the sounds which actually accompany them. Speeches, songs from prima donnas, the roar of a waterfall, or a train, or even the noise of a crowded street would then become possible adjunct to these lifelike representations, resulting ultimately in one of the greatest sources of popular amusement ever devised.”
Article notes efforts for censorship and prevention of showing film of prize fight in Carson City, NV. “It is the kinetosopic pictures of the recent prizefight at Carson City that are so agitating the lawmakers. In Illinois, Minnesota, Massachusetts, New York, and Washington bills have been introduced looking to the prohibition of these inoffensive appearing bits of transparent film.”
The subtitle for this article reads: "Done Here in the West; Factory Making Much-Talked-Of Views in Waukegan; Camera Turned by Crank; Films Sixty Feet Long Easily Developed and Printed; Machines for Exhibiting Them." Chicago, IL photography motion pictures, and sports motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space color motion pictures, and color color, and motion pictures photography, and number of pictures sound recording motion pictures, and sound recording sound recording, and motion pictures violence motion pictures, and violence violence, and motion pictures motion pictures, and boxing motion pictures, and Chicago Chicago, and motion pictures photography and visual communication motion pictures, and motion motion pictures, and movement Move As If Alive; How Pictures That Show Life Are Now Produced 14490 The Movie Here to Make the Spoken Drama Behave New York Times
May 9, 1915
X 6 This article notes that theaters such as the Strand have elevated “the standard of entertainment.” But Daniel Frohman, who was an experience manager and producers, says that the popularity of movies has peaked and that they need sound and color to hold their audiences.
The article's subtitle reads: "So Says Daniel Frohman, Who Believes That the Popularity of the Motion Picture Has Already Reached Its Zenith." motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as palace color motion pictures, and color color, and motion pictures The Movie Here to Make the Spoken Drama Behave 37650 'Movie' Manners and Morals Outlook
June 26, 1916
694-95 This article about the movies reflects class and racial biases of the time. The writer says that the "influential potentialities of the moving picture cannot be too seriously considered. Undeveloped people, people in transition stages, and children are deeply affected by them." (694) Children are presented in the movies with "changed and sometimes viciously altered versions of the classics and history...." (695) It goes to say that "Especially is this injurious to the more or less rudderless being whom we must educate into a good citizen, the child of alien parents who too often is contemptuous of the habits and maxims of his parents and ignorant of anything American but the hybrid pavement life of a polyglot city. The version of life present to him in the majority of moving pictures is false in fact, sickly in sentiment, and utterly foreign to the Anglo-Saxon ideals of our Nation. In them we usually find this formula for a hero: He must commit a crime, repent of it, and be exonerated on the ground that he 'never had a mother' or 'never had a chance' -- or perhaps because he was born poor. The heroine is in most cases the familiar passive, persecuted heroine of melodrama." (695) While there are exceptions to this kind of entertainment, so of high quality, in most movies of the day "the average screen drama plays upon the weakest, most illogical prejudices and sentimentalities of the less thinking classes far more than the old-fashioned melodrama." (695) (emphasis added) nationalism history citizenship children censorship motion pictures, and Americanization motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and class censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and psychology history and new media motion pictures, and history history, and motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures citizenship, and motion pictures motion pictures, and citizenship motion pictures, and Anglo-Saxonism heroes motion pictures, and heroes motion pictures, and anti-urban bias anti-urbanism, and motion pictures actors acting 'Movie' Manners and Morals 14180 Movie Men Form a Board of Trade New York Times
Sept. 10, 1915
11 The subtitle to this article reads: "Fighting of Hostile Censorship Legislation the Chief Aim of New Body. Big Firms Represented. Plans Publicity Campaigns to Further the Industry and the Holding of Expositions." censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings Movie Men Form a Board of Trade 13140 'Movie' Records of War Los Angeles Times
Nov. 20, 1914
I 6 This article says that former President William Howard Taft is the honorary president of the Modern Historic Records Association. Taft, William Howard administration history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph Konta, Alexander, and historical preservation historical preservation, and Alexander Konta Modern Historic Records Association presidents and new media Taft, William Howard Taft, William Howard, and new media Taft, William Howard, and motion pictures Taft, William Howard, and historical preservation historical preservation, and William Howard Taft motion pictures, and William Howard Taft 'Movie' Records of War 16290 Movie Revolution Predicted by Gest New York Times
March 27, 1927
E 3 In this article, Jewish American producer Morris Gest discusses movies and Hollywood as an art and intellectual center. The article's subtitle says: "Within Two Years the Greatest Minds of the World Will Be at Work in Hollywood, He Says. Art Gaining in Industry. Producer Declares He Will Divide Time Between Films and Stage Already Has Picture Planned." history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and music motion pictures, and universality motion pictures, and new art form motion pictures, as positive influence motion pictures, and Hollywood Hollywood, as intellectual center history and new media motion pictures, and history history, and motion pictures Hollywood, as cultural center motion pictures, and art Hollywood Movie Revolution Predicted by Gest 37550 The Movie Star Puck
Feb. 3, 1917
81 2083 24 This poem reads:

"She shows all emotions -- love, anger, surprise,
Fear, hatred -- the way she knows best:
By rapidly blinking her beautiful eyes
And gracefully heaving her chest." theater stage fame fame celebrity actors acting celebrity culture fame personality motion pictures, and new art form motion pictures, and psychology theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and celebrity celebrity, and motion pictures fame, and motion pictures motion pictures, and fame motion pictures, and stars sexuality motion pictures, and sexuality sexuality, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and acting acting, and facial expression motion pictures, and not facing camera acting, and not facing camera acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting motion pictures The Movie Star 35970 Moviegoer Habits Traced in Survey: Film Industry's First Canvass of Its Audience Shows Loyal Core Despite TV Inroads New Youk Times
Jan. 17, 1958
15 This article reports on a survey conducted by the Opinion Research Corporation in Princeton, NJ, for the movie industry. It found that by 1957 more than half of the 54 million people who went to movies each week were under 20. About 75 percent of the audience was under 30. The report said that TV had become "a prime reason for the decline in theatre attendance." The South was the region of the U. S. "most ethusiastic" about going to the movies. , news motion pictures television motion pictures, and audiences television, and movie attendance audiences motion pictures, and television television, and motion pictures Moviegoer Habits Traced in Survey: Film Industry's First Canvass of Its Audience Shows Loyal Core Despite TV Inroads 24980 Movieguide
1980s - 1990s? (Christian Film and Television Commission)
This publication give insight into Christian criticism of motion pictures during the 1980s and 1990s. Motion Picture Association of America (MPAA) classification MPAA self-regulation Production Code values Christianity Christianity CARA Valenti, Jack religion values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) motion pictures values religion motion pictures and popular culture classification motion pictures, and age classification motion pictures, and classification Christians, and religion Christians, and movie ratings religion, and movie ratings Baehr, Ted Christian Film and Television Commission Mahony, Roger Production Code (1992) Valenti, Jack, and Christians critics 960 The Movies Are Forty New York Times
May 19, 1918
53 Commenting on the historical evolution of motion pictures, this article says: “In the beginning the moving picture play was not thought of, the first pictures being photographic representations of ordinary life. The idea of telling a story by means of pictures came later, but early attempts at this were confined to slap-stick comedy. Then producers turned to serious work and sought to make screen plays that should have real dramatic and spectacular value, and some of them sometimes have succeeded tremendously.” theater stage motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing theater and stage motion pictures, and stage stage, and motion pictures The Movies Are Forty 39790 Movies at Home Outlook
April 5, 1913
784 This article discusses the status of home movies, especially in Great Britain. It notes that "the difficulties as regards cost, insurance, safety, and other elements are great," but that it has already been demonstrated that moving pictures can be used for educational purposes in small school rooms. Two invention in Great Britain, the pathescope and the Bettini machine, show promise for home use. Among the problems with home movies are fire hazard from using celluloid film. This has been solved by using acetate film and film with different perforation than normal celluloid film. Another problem is the cost and to elevate this issue the idea of film libraries where movies can be exchanged is proposed. The article reprints an excerpt from Chamber's Journal:
"'The pathescope is a small machine, occupying no more space than a phonograph, which can be set up on a table, and, as with the magic lantern, the size of the picture may be varied within certain limits by the distance between the projector and the screen. Hitherto the great objection against this development has been the combustible nature of the celluloid film; but this drawback has been completely overcome by the use of a non-inflammable film made from acetate of cellulose. Though the picture thrown from this base is not so clear and fine as that obtainable with the celluloid, with the home machine and the small picture the defect is not so pronounced as in the case of a large picture in a hall. In order to insure that only a non-inflammable film shall be used, the edges of the film have a varied perforation; that is to say, there are more holes on one edge than on the other. Accordingly the inflammable film with the standard perforation gauge cannot be used. This is a very interesting development, but it suffers from the great disadvantage that the films are costly. To meet this objection, the idea of a library has been evolved, the films being exchanged from time to time as is done with books. The establishment of depots in the large centers will facilitate the exchange of films; but as users in country districts can effect an exchange only by post, it is doubtful if the project will survive the first wave of enthusiasm. Mr. Edison has perfected a similar small machine for the home; but as the films must also be purchased, the expense, coupled with the fact that the novelty soon wears off, is an adverse factor. The true solution of the kinematograph-at-home idea would seem to rest in the Bettini invention, as the cost is trifling. The inventor of this system has discovered a means of using a non-inflammable film base, in preference to glass, so that the disadvantage of breakability is absent. The pathescope, however, is the first commercial application of the idea upon rational lines, and undoubtedly there are many homes in which animated pictures will appear as a diversion.'" home home history electricity motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison education motion pictures, and education education, and motion pictures home, and electricity electricity, and home electricity, and home entertainment non-USA, and home movies Great Britain non-USA Great Britain, and home movies motion pictures, and acetate film film, and acetate celluloid motion pictures, and celluloid home entertainment, and celluloid home entertainment, and acetate film home entertainment, and fire hazards home entertainment, the Bettini machine home entertainment, and pathescope Bettini machine, and home movies pathescope, and home movies materials materials, and acetate film materials, and celluloid film, and gauge Edison, Thomas, and home theater film Movies at Home 35980 Movies' Decline Held Permanent: Survey by Film Unions Finds '46 Status 'Gone Forever' New York Times
April 7, 1958
1, 25 This article reports on a survey conduct by Hollywood film unions and published in 1957 (see Irving Bernstein, Hollywood at the Crossroads). The study found that attendance in the United States had dropped from 90,000,000 in 1946, to less than 47,000,000 by 1956, and that when drive-ins were subtracted, that fewer than 12,000,000 people went to four-wall theaters. The article gives several reasons for the decline in attendance -- eg., increased leisure time, blockbuster films, and television which had "changed living patterns." (25) It also noted the jobs lost to so-called American-interest films -- movies in which American producers when abroad to film. The study also commented on the potential for future movie attendance during the 1960s and 1970s from the baby boom generation. , news motion pictures motion pictures, and American-interest films motion pictures, and labor labor motion pictures, and foreign markets motion pictures, and censorship censorship and ratings television motion pictures, and television television, and motion pictures children children and media audiences motion pictures, and audiences Movies' Decline Held Permanent: Survey by Film Unions Finds '46 Status 'Gone Forever' 670 'Movies' Improve Our Fiction New York Times
July 11, 1915
SM 9 Novelist Rex Beach is quoted in this article saying that “the tendency of the moving picture has been to make authors visualize more clearly than ever before their characters and scenes that they are writing about.” The article's subtitle reads: "Rex Beach Says They Have Made Authors More Careful Regarding Actuality and Vividness." theater stage motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and writers theater and stage motion pictures, and stage stage, and motion pictures 'Movies' Improve Our Fiction 38270 Movies of the Future McClure's Magazine
Oct. 1916
47 6 14-15, 87 This article discusses the remarkable growth and changes in moving pictures over the past five years or so. "From a chaser in a vaudeville show to seven hundred nights on Broadway is a long way for the motion picture to go in five short years. From a free and rather unwelcome supplement to a ten-twenty-thirty variety to a two-dollar admission price in a famous theatre; from a vulgar mechanical chase to a gigantic dramatic play; from an eye-straining blur to an eye-filling spectacle; from slapstick to Shakespeare; from a theatrical by-product to a six-hundred-million-dollar industry -- that's where the motion picture has gone." (14) What did audiences like to see and what was the future likely to hold, the article asks? Based on mail, "house to house ... investigations," (15) and reports from theater managers, about 70 percent of audiences when to movies for drama. Another 15 to 20 percent liked comedy best. "Stray individuals find most nourishment in the cartoons, the news weeklies, the travelogues and the educational pictures. The play, in pictures as on the stage, is the thing!" (15)
This article says that publicity is important in letting audiences know whether or not the film is of sufficiently high quality that they will want to see it. McClure Pictures will let people know the picture is up to McClure's high standards. "The motion picture of the future is to be the advertised picture, the real Superpicture!" this article concludes. (87) class motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel democracy democracy, and motion pictures motion pictures, and democracy class, and motion pictures, motion pictures, and class audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and travelogues education education, and motion pictures motion pictures, and education newsreels motion pictures, and newsreels advertising and public relations advertising, and motion pictures motion pictures, and advertising advertising news and journalism travel, and motion pictures travel Movies of the Future 36820 Movies' Own Censor Lifts Some Taboos: Hollywood Adopts New Film-Making Code Chicago Tribune
Sept. 21, 1966
2 This article discusses the new Production Code that Hollywood adopted in 1966. It added a "suggested for mature audiences" rating. "As they come dwn the chute," Valenti said of new films, "we'll label them." Motion Picture Association of America (MPAA) classification self-regulation National Association of Theatre Owners (NATO) sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Nizer, Louis Movies' Own Censor Lifts Some Taboos: Hollywood Adopts New Film-Making Code 42910 Movies to Be 'Felt' and 'Smelled' Forecast in New Era by Jones New York Times
Jan. 23, 1938
39-40 The stage and color designer Robert Edmond Jones predicts that within 25 years movies will be "felt" and "smelled." He also predicted there would be "time machines" that would "shatter all privacy by projecting themselves into the past and present.
Quoting Jones: "'I, as Mr. Priestley in his play "Time and the Conways," believe the time will come when we will be able to see, hear, feel and smell the present, past and future, all in one flash,' Mr. Jones declared. (39)
"'It even may come to where there will be no privacy -- a horrible thought to me, but it may become a reality!'" (39)
Jones noted that perfume was already being used in theaters during romantic movie scenes.
As for the time machine, Mr. Jones later amplified his remarks with the assertion that he believes 'we actually will have' in twenty-five to fifty years such inventions as H. G. Wells and Aldous Huxley have described in their imaginative writings. The senses of 'touch' and 'smell' well be added to the 'talkies,' he declared....
"He visualized a 'time machine,' such as Maxwell Anderson fancifully describes in his play, 'The Star Wagon,' which will transpose events of the past to the present.
"'By this machine,' he [Jones] 'I believe it will be possible, say, to wonder what the Prince of Wales or the President is doing, turn your machine on them, and actually see what is going on. Impossible? Why? Television is here today, isn't it?'" (39) Kalmus, Herbert motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature color, and new way of seeing television seeing at a distance television, and seeing at a distance motion pictures, and seeing at a distance privacy television, and privacy privacy, and television cameras cameras, and privacy privacy, and cameras privacy, and Robert Edmond Jones motion pictures, as time machine motion pictures, and privacy history and new media motion pictures, and history motion pictures, as time machine history Movies to Be 'Felt' and 'Smelled' Forecast in New Era by Jones 15410 Movies’ Exposition. International Show to Open at Grand Central Palace June 8 New York Times
May 18, 1914
9 This article notes that at the second annual International Moving Picture Trades Exposition that Cooper Hewitt Co. was “installing an extensive lighting plant, and there will be shown the rehearsing, playing, talking and developing in the studio of a playlet and then the finished picture on a screen will be run.” Among the actors taking part: Mary Pickford, John Bunny, Pearl White, and others named. theater stage fame fame celebrity celebrity culture words vs. images actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting acting, and lighting lighting, and acting motion pictures, and stars motion pictures, and celebrity motion pictures, and fame fame, and motion pictures celebrity, and motion pictures celebrity culture actors, and status of Bunny John Pickford, Mary Cooper Hewitt lighting Movies’ Exposition. International Show to Open at Grand Central Palace June 8 38280 Moving Picture Advertising Bankers' Magazine
July 1916
93 1 A2-A4 This article refers to a movie called "All Aboard the Magic Carpet," which advertising the advantages of "A.B. C. Travelers' Cheques." (A2) The magic carpet apparently refers to the cheques, not movies as a form of communication. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel advertising and public relations advertising, and motion pictures motion pictures, and advertising motion pictures, as magic carpet metaphors Moving Picture Advertising 980 Moving Picture Drama of People Chicago Daily Tribune
Nov. 23, 1910
A 14 This article compares cinema with printing press. It is also more accessible to masses; more “spaciousness” that stage. It can show things not possible on stage; it has a magical quality. In 1910, this article estimates that in Chicago there were 650 moving picture theaters and another 50 vaudeville houses that show movies. It costs $10,000 to produce movie in Chicago; perhaps 150,000 daily attendance in 1910 that brings in $12,000 daily. The article predicts that there will be motion pictures in color and with sound. This article claims, rather naively, that movies will have permanence of paintings and statues. theater stage magic history history Chicago, IL metaphors photography motion pictures theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and printing press motion pictures, and magic motion pictures, and special effects special effects, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures motion pictures, and Chicago color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication sound recording motion pictures, and sound recording sound recording, and motion pictures motion pictures, and business Chicago, and motion pictures motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation theaters motion pictures, and theaters theaters, and motion pictures audiences audiences, and theaters theaters, and audiences motion pictures, and attendance magic, and motion pictures motion pictures, and magic special effects Moving Picture Drama of People 150 The Moving Picture Hazard The Independent
Aug. 29, 1907
63 3065 527 This piece quotes from a circular distributed by the Southeastern Tariff Association about the dangers of fire from celluloid films. motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, and fire motion pictures, and celluloid celluloid materials materials, and celluloid theaters, as fire hazard The Moving Picture Hazard 13600 The Moving Picture Man Chicago Daily Tribune
Aug. 4, 1902
12 This article reports on the difficulties of capturing live fighting in the Spanish-American War and in the Philippines. Some film purporting to show charges up San Juan Hill were actually filmed in the Philippines. Also notes movies cameras vary from electric ones used by big companies that weigh 800 pounds, to one turned by hand crank that weigh perhaps 20 pounds. history photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing history and new media motion pictures, and history history, and motion pictures war war, and motion pictures motion pictures, and war military communication military communication, and motion pictures cameras, portable war, and cameras cameras, and war Spanish American War motion pictures, and Spanish American War cameras war, and Philippines motion pictures, and live war action cameras, and live war action photography and visual communication photography, and war war, and photography The Moving Picture Man 530 Moving-Picture Manufacture. Ten Thousand Theaters Using the Picture Films Los Angeles Times
Nov. 7, 1909
VI 4 This article comments that “The scope of the motion picture camera is unlimited. Not only can the little machine, probably twelve pounds in weight, with which the negatives for the films are taken, faithfully record everything that can be reproduced with photography, but by clever manipulation the films can be so doctored as to make pictures do the impossible. That is a sort of Irish bull, but it is true. For instance, the films can be so manipulated as to make a human being actually defy the laws of gravity; make a mere man turn a backward somersault over objects as high as the Washington Monument; even make the tiny house fly apparently juggle stick of cordwood and dumbbells incredibly large.”
The article comments on the popularity and accessibility of movies: “The motion-picture theater is frequently spoken of as the poor man’s theater, probably because of the extraordinary cheapness of admission, but in all the big cities, as well as in Washington, the most refined of the social circle, the exclusive of the elite, may be found seated side by side with the poor man or the poor woman enjoying a motion-picture exhibit. One evening recently there were twenty-eight automobiles of the finest type lined up against the sidewalk on Pennsylvania avenue while those who came in them were enjoying a motion-picture show on the inside of one of the theaters. One alone, whose seating capacity is 168, had an actual attendance of 14,000 people in one week.”
Color films are now possible, the article says: “The manufacturers of films have also succeeded in producing motion pictures in the natural colors of the objects. It is a most difficult and delicate undertaking to color the thousands of these miniature film pictures that go to make up a series, and yet it has been accomplished in a remarkable way.”
The article goes on to say: “But it is not the trick pictures that the greatest interest lies. There are films that are instructive as well as entertaining; those that show foreign lands and the customs of the people; those that virtually take the audience to some far-away city or country and give a series of views of its industries….
“Pictures of this sort are classed as educational. One need not go abroad to see foreign countries; they are brought to his door by the motion picture.”
On the relation between moving pictures and history, the article maintains: “Indeed, the development of the motion-picture film has called into play every conceivable factor necessary to the reproduction of historic, dramatic, and national incidents and events.”
The subtitle to the article reads: "A Large Industry Developed by the Novel Entertainment System of Exchange of Films Saves Large Cost to Individual Theatre A Trust Now Formed." theater stage sensationalism nationalism Los Angeles history class motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel education motion pictures, and education education, and motion pictures nationalism and communication color motion pictures, and color color, and motion pictures nationalism, and motion pictures motion pictures, and nationalism motion pictures, and special effects special effects, and motion pictures motion pictures theater and stage motion pictures, and stage stage, and motion pictures class, and motion pictures motion pictures, and class motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras patriotism patriotism, and motion pictures motion pictures, and patriotism motion pictures, and Los Angeles Los Angeles, and motion pictures motion pictures, and business capitalism motion pictures, and capitalism capitalism, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures motion pictures, and magic motion pictures, and special effects special effects Moving-Picture Manufacture. Ten Thousand Theaters Using the Picture Films 170 The Moving Picture Movement The Independent
Jan. 11, 1912
72 3293 108-10 This article begins by discussing the kinematograph and the "problem of color reproduction. We believe it may be fairly called solved, for moving objects are now photographed in their natural colors, altho not all of them are correctly represented." (108) It notes that the "Italians have taken most enthusiastically to the motion picture," (109) and it gives several examples of spectacles that have been filmed. "The kinetoscopist seems competent to make real anything in the lower regions that Dante or Doré could imagine; the demons fight in mid-air, doomed souls see visions of the sins that brought them there....." (109) The scenes are filmed with "sufficient of the horrible to send women of very sensitive nerves into a faint or out of the theater." (109)
According to the author of this article, the kinetoscopy "is not only a new form of the drama and a new method of journalism," but also "a new instrument of science, comparable in importance to the telescope and microscope." (109) Film has enabled man to control space and time. "When man acquired control of spatial relations by means of lenses enabling him to enlarge or reduce to suit his purpose, the realm of the invisible was opened to his gaze in both directions, toward the stars and toward the atoms. Now he has for the first time brought time under the same control as space, and by means of the magic strip of film can retard, accelerate or reverse the course of events at will. He has acquired a 'time machine' almost equal to that imagined by Wells years ago." (109)
The article argues that "it is wrong to regard such an instrument as this as a mere means of entertainment, and it is a great mistake to impose upon it, now in its infancy, such legislative restrictions as would confine it to the theater and practically exclude it from the school, the church, and the family circle." (110) journalism history photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication modernity modernity, and motion pictures motion pictures, and modernity motion pictures history and new media motion pictures, and history history, and motion pictures motion pictures, and time time and timekeeping time, and motion pictures motion pictures, and magic motion pictures, and journalism journalism, and motion pictures news and journalism metaphors motion pictures, and metaphors motion pictures, and time machine metaphors, and time machine metaphors, and movies as telescope metaphors, and movies as microscope motion pictures, as time machine motion pictures, and telescope motion pictures, and microscope motion pictures, as telescope motion pictures, as microscope The Moving Picture Movement 13240 Moving Picture of Ito Murder; Photographer Catches the Assassination Scene Los Angeles Times
Dec. 10, 1909
I 5 This article reports that the assassination of Prince Hirobumi Ito in Japan was captured by moving picture camera. The article's subtitle reads: "Japan Will Use Films in Prosecution of Korean Slayer of Former Premier One Roll Will be Exhibited China Fears Ito’s Death Will Cause Trouble." journalism history magazines motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines sensationalism motion pictures, and sensationalism sensationalism, and motion pictures cameras special effects motion pictures, and special effects Japan non-USA Japan, and motion pictures motion pictures, and Japan modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space history and new media motion pictures, and history history, and motion pictures Moving Picture of Ito Murder; Photographer Catches the Assassination Scene 37170 The Moving Picture of To-Morrow Outlook
June 27, 1914
444-45 This article contrasts motion pictures and the more limited possibilities of the stage. "This new art holds out to us the promise of escaping, not only from the constricting unities of time and place, but also from the immediate hamper of mechanical contrivances. It borrows the world itself for its stage, the high Alps for its proscenium arch, and the deserts of the earth for the boards upon which it plays. In the flicker of an eyelash it bring together the eternal ice and the sun-scorched tropics. With its magic of light and shade it can bring forth at command the legions of Titus storming the walls of Jerusalem or the mordant jaws of a modern dredge gnawing a pathway across the backbone of a continent. For it a thousand years are as a day. The fall of an empire and the fading of a rose, the tides of Fundy and the spring-drawn sap in a growing vine -- these are one and all within its field. With the pageantry of life itself for stage property and all history for a back-drop, who is bold enough to prophesy the final limitations of the moving-picture machine? (444) (my emphasis) The author says that movie makers are adding "Pageantry to pantomime," and that few actors of the stage are able to make the transition to motion pictures.
The author says that "In the moving-picture world an hour ago is almost ancient history. What to-morrow holds is only a matter for prophecy." (445) (my emphasis)
Motion pictures will bring history alive, the article argues. "History under the skillful touch and dramatic genius of moving-picture artists may for all of us thus become a present fact. The school-boy of to-morrow may read his Caesar with eyes fixed upon the soldiers of Vercingetorix, may watch the camp-fires along the Roman wall, may see Michael Angelo [sic] building the defenses of Florence, may march with bloody Alva through the stricken Netherlands, follow the fortunes of Hudson to the north, suffer hardship with Marion the Swamp Fox, or camp with Grant at Appomattox. History, a thing alive, will come to him out of the brains of scholars, a ray of prisoned light and a flickering procession of ghostly shadows thrown upon a whitened screen." (445) (emphasis added) theater stage magic history fame fame celebrity actors acting future and science fiction future, and motion pictures motion pictures, and future motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and new art form motion pictures, and magic magic, and motion pictures special effects, and motion pictures history, and break with past history, break with future history motion pictures special effects The Moving Picture of To-Morrow 1010 Moving Picture War Starts in Germany New York Times
March 24, 1912
C 5 In Germany, there was an effort to confine movies to scientific and educational areas and to keep it out of drama. “Kintopps,” as they were called there, had “brought the theatre business to the brink of ruin.” Actors were being tempt away from stage by lure of high salaries.
This article's subtitle reads: "Theatre Managers, Alarmed at the Invasion, Call for United Defense of the Drama; Leading Actress Deserts; Tempted by Big Salary, She Plays for the Picture Men in a Stirring Lake Drama." theater stage actors acting theater and stage motion pictures, and stage stage, and motion pictures Germany Germany, and motion pictures motion pictures, and Germany non-USA motion pictures, and stage actors actors acting motion pictures Moving Picture War Starts in Germany 15850 The Moving Picture World and the Periodicals Moving Picture World
Aug. 13, 1910
340-41 This article discusses a recent article in Harper's Weekly on "Morals and the Moving Pictures," and said that this publication (Moving Picture World) had already thoroughly covered this subject. It also notes a recent piece in the Review of Reviews (July 16, 1910) on "The Living Picture Revealing Nature." The article concludes by saying that these reviews and others "are interesting, showing the growing power of the moving pictures everywhere, and when journalists and periodicals write so truthfully and commendatory they may depend upon help from the Moving Picture World.” (quotation, p. 341) science journalism journalism censorship magazines, and photography magazines photography motion pictures news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines motion pictures, and science science, and motion pictures values values, and motion pictures motion pictures, and values censorship and ratings censorship, and motion pictures motion pictures, and censorship photography and visual communication actors acting censorship The Moving Picture World and the Periodicals 240 Moving Pictures Youth's Companion
Aug. 4, 1910
84 31 402 This brief article criticizes the recent showing of the Jack Johnson heavyweight boxing match and applauds the exhibitors who withdrew the film. "Much criticism has been made of the moving picture theaters, and doubtless much has been deserved. It is, however, a fact that the past few years have brought a decided improvement. There is yet much of melodrama and crude humor, but there is also a great deal that is artistic and instructive." This piece talks about the uses of film for educational purposes in the U.S., France, Germany, and Belgium. It notes the powerful impact motion pictures have had on scientific study. It concludes: "No one pretends that all the moving pictures are worthy of approval. Many persons believe in a rigid censorship. In the absence of it, parents can exercise a wise supervision for their own families." children censorship words vs. images motion pictures, and sports motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings religion religion, and motion pictures motion pictures, and religion images vs. words education motion pictures, and education education, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures violence motion pictures, and violence violence, and motion pictures motion pictures, and boxing (youth) Moving Pictures 600 Moving Pictures and the Right of Privacy Yale Law Journal
Jan. 1919
28 3 269-72 This article provides an account of legal thinking about the relationship between movies and privacy at the end of World War I. photography motion pictures law privacy motion pictures, and privacy privacy, and motion pictures law, and privacy law, and motion pictures photography and visual communication photography, and privacy privacy, and photography Moving Pictures and the Right of Privacy 13450 Moving Pictures Depict Fairbanks Chicago Daily Tribune
Aug. 27, 1904
5 Senator Charles W. Fairbanks (Indiana) who was Theodore Roosevelt running mate for Vice President, reluctantly allows himself to be film, according to this report. Fairbanks did not think posing in front of a moving picture camera was “dignified.” However, “the pictures will be in the theaters next week and the republican managers believe that they have hit on an effect scheme of making the vice presidential candidate known to about thirty times the number of people he possibly could have met by touring the state.”
The article's subtitle reads: "Vaudeville Stage to Be Medium of Showing Candidate to Public. Dignity Yield a Point. Senator Finally Consents to Let ‘Political Exigencies’ Command." politics journalism history celebrity photography motion pictures history and new media motion pictures, and history history, and motion pictures politicians, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures presidents and new media photography and visual communication politicians, and new media Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and motion pictures Fairbanks, Charles, and motion pictures motion pictures, and Charles Fairbanks personality personality, and motion pictures motion pictures, and personality celebrity culture actors acting motion pictures, and magnifying personality photography, and reluctance to be photographed Moving Pictures Depict Fairbanks 16170 Moving Pictures for Science New York Times
July 3, 1899
2 The article's subtitle reports: "Agricultural Department Engaged in a Series of Experiments." science photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures agriculture, and motion pictures motion pictures, and agriculture agriculture Moving Pictures for Science 13440 Moving Pictures for Voters Chicago Daily Tribune
Oct. 17, 1902
7 Republican party is using moving pictures to attract voters, according to this piece. The article's subtitle reads: "Feature of Big Republican Mass Meeting Where Political Issues Are Discussed." politics history motion pictures history and new media motion pictures, and history history, and motion pictures politicians, and motion pictures Moving Pictures for Voters 13650 Moving Pictures in China New York Times
Aug. 31, 1906
8 This article discuss the reaction to American films in China (note the racist language): “China has always been shy of the devices of the outside barbarian, and it is little wonder that a moving picture show with a gasoline attachment which blew up as soon as the concern was arranged for business should have created a local panic in that country and an apprehension that the machine was some diabolical instrument of invasion intended to overthrow the empire and cut off every pious pigtail pendent therein.” nationalism history motion pictures, and Americanism motion pictures motion pictures, and nationalism nationalism, and motion pictures motion pictures, foreign nationalism and communication motion pictures, and Americanization motion pictures, and westerns history and new media motion pictures, and history history, and motion pictures motion pictures, and westerns motion pictures, and U.S. films abroad China non-USA China, and U.S. motion pictures motion pictures, and U.S. in China race race, and motion pictures motion pictures, and race Moving Pictures in China 15160 Moving Pictures in Color New York Times
Feb. 22, 1917
9 The subtitle to this article reports that "Dr. [Herbert T.] Kalmus Exhibits Technicolor Films at Engineering Building." The articles says that about 2,000 feet of film was shown. Kalmus, Herbert photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication color, and Herbert Kalmus Kalmus, Herbert, and color Moving Pictures in Color 15200 Moving Pictures in Natural Colours The Times [London]
Dec. 10, 1908
12 This article gives an account of the state of films in color in 1908. photography photography and visual communication photography, and color color, and photography color motion pictures color motion pictures, and color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA Moving Pictures in Natural Colours 15180 Moving Pictures in Natural Colours: A New Process The Times [London]
Jan. 17, 1913
44 This article discusses the status of color motion pictures in 1913. photography photography and visual communication photography, and color color, and photography color motion pictures color motion pictures, and color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA Moving Pictures in Natural Colours: A New Process 16120 Moving Pictures in Science New York Times
Oct. 11, 1909
9 This article reports that surgery, agriculture, and metallurgy are already being taught by moving pictures. science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures medicine, and motion pictures motion pictures, and medicine Moving Pictures in Science 16160 Moving Pictures in Surgery Chicago Daily Tribune
July 4, 1899
1 This article's subtitle reports: "Operations Shown in Germany by Means of Cinematograph P. D. Armour Recovered." A French surgeon name Doyen who was dissatisfied with the limited number of people who could watch clinical demonstrations took "had a special cinematograph made and took instantaneous photographs of a variety of operations, showing every detail." They were then shown to a "large sceintific audience." science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures medicine, and motion pictures motion pictures, and medicine Germany non-USA Germany, and motion pictures motion pictures, and Germany Moving Pictures in Surgery 13880 Moving Pictures Menaced by War Chicago Daily Tribune
March 9, 1908
5 This article reports on efforts to control moving picture patents. The article's subtitle reads: "Contest Over Patent Rights Threatens Temporary End to 10,000 Theaters; Fight to Center Here; ‘Trust’ and ‘Independents Each Desires Other Put Out of Business by Courts." Chicago, IL censorship censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology motion pictures, and projectionists censorship, and projectionists motion pictures, and Chicago Chicago, and motion pictures censorship, and Chicago Chicago, and movie censorship law motion pictures, and law law, and motion pictures motion pictures, and patents Moving Pictures Menaced by War 13250 Moving Pictures of the Pope Chicago Daily Tribune
Jan. 9, 1899
7 This article discusses the filming of Pope Leo XIII. The article's subtitle says: "Leo XIII. Represented Amid the Scenes of His Daily Life Exhibition at Studebaker Hall." journalism journalism history history magazines, and photography magazines photography motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures religion, and motion pictures motion pictures, and religion photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones religion, and photography photography, and religion religion motion pictures, and Pope Leo XIII religion, and Pope Leo XIII Moving Pictures of the Pope 16220 Moving Pictures Show Reptile Life New York Times
Oct. 23, 1914
18 This article reports that a film showing reptilian life took three years to make and reptiles filmed at night under electric light because that was the only way they could be made to act naturally. science photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures science, and motion pictures motion pictures, and science electricity electricity, and lighting lighting, and electricity lighting Moving Pictures Show Reptile Life 13210 Moving Pictures Shown in Court New York Times
March 5, 1914
2 This articles says that “For the first time in history of criminal procedure a moving picture exhibition was made part of a criminal trail last night.” The article's subtitle reads: "Room in General Sessions Transformed for Trial of Producers of White Slave Play." journalism journalism history history censorship magazines, and photography magazines photography motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures law motion pictures, and law law, and motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures motion pictures, and white slavery white slavery, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings photography and visual communication Moving Pictures Shown in Court 990 Moving Pictures Sound Melodrama’s Knell New York Times
March 20, 1910
SM 7 This article notes differences between the stage play and the movie. Live plays are only given occasionally while the movie is shown constantly; movies appeal to millions who never read books. The article also discusses a different class of people who attend movies. It makes other points such as acting is a “wonderful business.” It considers acting before a machine -- more has to be expressed by pantomime. An actor says "'Yes, the old order changeth. Melodrama belongs to the dark ages now, and this thing [moving pictures] has come to stay.’” theater stage class motion pictures theater and stage motion pictures, and stage stage, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and class class, and motion pictures Moving Pictures Sound Melodrama’s Knell 39500 The Moving World The Independent
April 5, 1915
82 3461 21 This article begins by referring to an editorial in The Independent after the appearance of Birth of a Nation and saying that the motion picture ranked "printing in the scope of its influence and that it possest [sic] possibilities of artistic development which would enable it in some respects to surpass painting and stage drama." The article comments on the progress made during the past year by cinema and notes that "crowds are not drawn by novelty or by scientific interest, they are not tricked into coming by advertising; they have compared the motion picture with the melodrama, the problem play or the musical comedy as an evening's entertainment and prefer it."
The author compares and contrasts movies and live theater. Unlike the live theater, films lack sound and color. However, motion pictures have certain advantages over theater: 1) they can use the outdoors for background; 2) they can change scenes often; 3) they are like H. G. Wells's time machine in that they can go back in time and also into the future; 4) they can reveal the mind of character in two ways, one my bring the camera close to show facial expressions, the other by "visualizing his memories or imaginings"; 5) they can show the same special effects every night with no additional cost over the original showing.
There are problems with this new art form. For example, there is a tendency "to put in too much motion." Too often the filmmaker "employs a sensational catastrophe as a substitute for a logical plot."
Nevertheless, the movies have come to stay this article says. "The motion picture has established itself and in some form or other will become a permanent part of the intellectual and esthetic life of the nation."
The subtitle of this article is "A Review of New and Important Motion Pictures. The Progress of the Motion Picture." theater stage history motion pictures theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and printing press motion pictures, and Birth of a Nation acting acting, and facial expression motion pictures, and personality critics critics, and movie action history and new media history, and motion pictures motion pictures, and history metaphors metaphors, and time machine metaphors, and movies as time machine actors The Moving World 19780 MPAA's Jack Valenti: Parlayer of Power Broadcasting
Sept. 16, 1974
87 12 57 This article discusses Jack Valenti's background, including is work with the Lyndon B. Johnson administration. Valenti was president of the Motion Picture Association of America. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA MPAA's Jack Valenti: Parlayer of Power 25510 Murder Gets an R; Bad Language Gets NC-17 Time
Aug. 29, 1994
144 68 This article criticizes the motion picture rating system which appeared to be more willing to give a severe rating (NC-17) to films with bad language and non-violence sex, than it to movies with high levels of violence. The article begins by discussing Oliver Stone's Natural Born Killers (1994), and the 150 cuts he had to make in order not to get an NC-17 rating. Time Warner Inc. owned both the magazine in which this article appeared and the studio that made Natural Born Killers. Natural Born Killers (1994) Classification and Rating Administration self-regulation rating system (U.S.) sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality CARA Classification and Rating Administration (CARA) motion pictures and popular culture motion pictures, and sex motion pictures, and violence public relations public relations, and motion pictures public relations, and Natural Born Killers motion pictures, and sex motion pictures, and violence violence violence, and motion pictures sex, and motion pictures nudity, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising language motion pictures, and language nudity CARA, and nudity motion pictures, and nudity Stone, Oliver public relations, and Oliver Stone Stone, Oliver, and public relations advertising, and Natural Born Killers Natural Born Killers, and advertising CARA NC-17 rating controversies CARA, and critics rating system (U. S.), and critics motion pictures sex advertising and public relations Murder Gets an R; Bad Language Gets NC-17 13090 Mutual Film Corporation v. Industrial Commission of Ohio. 236 U. S. 230 1915 This U. S. Supreme Court case, which defined motion pictures as a business "pure and simple," excluded movies from protection under the First Amendment. Not until 1952, with the Court ruled on the film The Miracle, did motion pictures gain First Amendment protection. U. S. Supreme Court Supreme Court (U. S.) archives motion pictures law censorship and ratings censorship law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Mutual case (1915) Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases court cases, Mutual case (1915) court cases, Mutual Film Corporation v. Industrial Commission of Ohio. 720 A Mysterious Invention; Precautions to Keep the Vitascope a Profound Mystery Los Angeles Times
July 12, 1896
9 This article discusses Thomas Edison's vitascope. It has been popular. "Night after night numbers of people have gone to the Orpheum at about 10 o'clock, going with the sole object in view of seeing the wonderful moving pictures with their startling similarity to real life. The mystery in which it is shrouded doubtless, the more interesting to the public." motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences motion pictures, and audiences A Mysterious Invention; Precautions to Keep the Vitascope a Profound Mystery 42240 The 'Mystery' of Electricity Current Litearture
June 1905
38 6 557-58 Well into the twentieth century the general public had “not yet lost its feeling of awe for all things electrical” (558), this article says, and for many people electric energy remained a “mysterious” force. The article reprints an excerpt from a recent piece in the Electrical Review which argues that it is mistaken to think of electrical phenomena as incomprehensible. electricity electricity, as mysterious electricity, as awesome The 'Mystery' of Electricity 41030 Natalie Kalmus Talks on Color Los Angeles Times
April 12, 1935
13 This brief article reads: "The new movement of pictures toward color was discussed by Natalie M. Kalmus, leading color authority and executive, before the Hollywood Woman's Club Wednesday noon. Mrs. Kalmus talked on the subject, 'What It Requires to Make a Picture in Technicolor,' and read two papers on 'Color Consciousness' and 'Color Music.'" Kalmus, Herbert censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and novelty color, and music Kalmus, Natalie, and color music Natalie Kalmus Talks on Color 23700 The Nation Los Angeles Times
Oct. 26, 1986
1 2 See also: media See also: violence See also: sexuality This brief article discusses the Ronald Reagan administration and pornography. Reagan, in a live satellite address to fifty cities, called pornography "vicious and dangerous" and harmful to children and women. Reagan praised Attorney General Edwin Meese's antipornography efforts. conservatives Reagan, Ronald presidents, and new media Reagan administration sexuality sexuality nudity motion pictures mass media media effects crime law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography Reagan, Ronald, and nudity nudity, and Ronald Reagan Reagan, Ronald, and pornography Reagan, Ronald, and secular humanism Reagan, Ronald, and liberalism Reagan, Ronald, and spiritual awakening addresses The Nation 14150 The Nation-Wide Wave of Moving Pictures. New York Times
Jan. 3, 1909
SM 10 The subhead in this article reads: “How It Has Swept Over the Country Until It Represents an Investment of Forty Millions of Dollars and the Employment of 100,000 Persons. Some Moving Picture Tricks. Amusing Incidents Often Occur in Creating ‘Magical’ Illusions.” The text of the article goes on to say that “The old saw that things are seldom what they seem is nowhere more true than with the moving picture….” censorship actors acting actors acting censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and deception actors, and status of motion pictures, and magic motion pictures, and special effects special effects, and motion pictures motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business capitalism special effects The Nation-Wide Wave of Moving Pictures. 18440 National Catholic Welfare Conference, Episcopal Committee on Motion Pictures, 1933-1944, National Conference of Catholic Bishops
1933-1944
This collection deals with the Legion of Decency and more broadly, the Catholic Church's stance on motion pictures. It is located at 3211 4th Street, N.E., Washington, D. C. (Mullen Library?, Catholic University?, Washington, D. C.). District of Columbia -- Washington -- National Conference of Catholic Bishops Archives values Christianity Christianity values archives religion values morality values religion law censorship and ratings censorship archives motion pictures and popular culture motion pictures motion pictures, and Legion of Decency motion pictures, and Catholic Church Christianity, and motion pictures motion pictures, and Christianity motion pictures, and morality morality, and motion pictures censorship, and Legion of Decency Legion of Decency censorship, and motion pictures Breen, Joseph Breen, Joseph, and Legion of Decency Quigley, Martin, and Catholic Church Lord, Daniel A. McNicholas, Archbishop John T. Quigley, Martin Catholic Church National Catholic Welfare Conference, Episcopal Committee on Motion Pictures, 1933-1944, National Conference of Catholic Bishops 20020 [National Commission on the Causes and Prevention of Violence] St. Louis Post Dispatch June 5, 1969 1A, 13A This article covers the report of the National Commission on the Causes and Prevention of Violence in 1969. The article discusses research that had then been done linking violence in mass media (e.g., television and movies) to real-world violence. Motion Picture Association of America (MPAA) MPAA government hearings Valenti, Jack television, and media effects social science research media effects media violence government hearings censorship and ratings children television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures violence, and bibliography bibliographies bibliographies, and TV violence National Commission on Causes and Prevention of Violence hearings, Causes and Prevention of Violence (1969) Valenti, Jack, and media violence Valenti, Jack, and Congress [National Commission on the Causes and Prevention of Violence] 34730 National Geographic
1910s-1960s
Catherine Lutz and Jane Collines argue in their book Reading National Geographic that magazine has provided one of the most important ways in which Americans have learned about life outside their borders. But the photographs in this publication reflect a bias. "The photograph can be seen as a cultural artifact because its makers and readers look at the world with an eye that is not universal or natural but tutored. It can also be seen as a commodity, because it is sold by a magazine concerned with revenues. The features of the photographs, and the reading given them by others, can tell us about the cultural, social, and historical contexts that produced them.”
The authors estimate that 37 million people worldwide see each issue of this publication. "Its subscription rate is the third largest for magazines in the United States--following TV Guide and Reader’s Digest. The magazine is used by schools as a teaching tool; it is subscribed to by middle-class parents as a way of contributing to the education of their children; its high prestige value affords it a place on coffee tables; its high-quality printing and binding and its reputation as a valuable reference tool mean that it is rarely thrown away, more frequently finding its way into attics and secondhand bookstores.
“It has always been private, but has powerful ties to government; it is a ‘scientific’ institution, yet dependent on the sales and popularity of its magazine; its photographs are realistic, yet highly stylized. Through its long history, the national Geographic Society has strategically deployed realist codes and has fashioned claims to objectivity in order to secure its position as both ‘scientific’ and ‘popular.’” nationalism color nudity magazines magazines, and nudity nudity, and magazines color, and magazines magazines, and color photography values photography and visual communication photography and visual communication nationalism and communication books, periodicals, newspapers values, and photography values, and magazines photojournalism photography, and bias audiences, and photography audiences, and magazines audiences nationalism, and magazines nationalism, and photography magazines 33080 National Television Violence Study 3 volumes, Santa Barbara, Chapel Hill, Madison Mediascope, Inc.
1994-1995
In the National Television Violence Studies, researchers at four universities tried, through extensive research, to determine the amount violence, its intensity, and its effect on viewers of American television. The results are based on a research which covered 50 days during which 23 television channels were analyzed everyday from 7.00 am to 11.00 p.m. Researchers proposed a series of measures meant to repress violence on TV because they consider it a serious social ill.
In the television season 1994-1995 the researchers found that 57 percent of all the programs analyzed contained some sort of violence. The violence displayed on television poses three serious threats: learning aggressive attitudes and behaviors, becoming desensitized to real-world violence, and developing unrealistic fear of being victimized by violence. The amount of violence differs from channel to channel; the highest percentage of violent programs is found on premium cable and within the genre of movies specifically; this is also where the highest frequencies of violent interactions are displayed. In contrast, the lowest percentage of violent programming is found on the broadcast networks and especially on public broadcast.
Viewers do not necessarily need to identify with persons on the screen who practice violence. The prototype of such a person resembles the prototype of someone who views the program. In most cases an adult white male attacks another adult white male. The major problem with violence on TV is that it is often sanitized. Negative mental or physical consequences, e.g. paralysis, are often ignored and violence is even often depicted as funny. Within these programs talk shows are to be considered the least violent whereas police reality shows are the most violent. A way to make these reality programs less accessible to children might be to schedule these shows later in the evening. Because, as the research shows us, boys are attracted to shows and movies that they are actually not allowed to see based on the rating. These programs tend not to have the same appeal to girls.
Violence tends to affect younger children even more than adolescents. As opposed to what one might think, cartoons overall contain too much violence suitable for children under the age of seven. Therefore it is not recommended to parents to let their children watch networks as Cartoon Network and Nickelodeon. All in all, the most important mean to reduce the amount of violence on American television, or at least to reduce its dangerous impact, is to inform the audience better about the effects of violence. Networks should offer people an alternative to violent shows, and if they decide to watch them, helplines and help desks should be available if the show or movie happens to cause a traumatic memory.
-- Pieter Van Den Berg Van Den Berg, Pieter television violence television, and violence violence, and television children and media media effects television, and children children, and television children, and violence violence, and children media effects, and violence violence, and media effects violence, and children children, and violence children National Television Violence Study 25770 National Television Violence Study: Scientific Papers, 1994-1995 Studio City, CA Mediascope, Inc.
[c1996]
See also: violence See also: sexuality This study videotaped 3,185 TV programs and analyzed 2,693. The study was lead by researchers at the University of California, Santa Barbara, University of North Caroline, Chapel Hill, University of Texas, Austin, and the University of Wisconsin, Madison. Mediascope provided the project administration. Mediascope is a nonprofit organization that attempted to promote "constructive depictions of health and social issues in mass media." The study discusses research that has been done on the effects of violence in mass media. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation National Association of Theatre Owners (NATO) Classification and Rating Administration (CARA) Cantor, Joanne National Association of Theatre Owners (NATO) Surgeon General social science research censorship and ratings NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures media effects media violence censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification television motion pictures and popular culture media effects television, and violence motion pictures, and violence media effects, and violence social science research, and violence Surgeon General's Report (1972) Donnerstein, Edward Cantor, Joanne, reports children, and media MPAA rating system (U. S.), and critics television, and rating system (U. S.) rating system (U. S.), and television National Television Violence Study: Scientific Papers, 1994-1995 15190 Natural Colours on the Cinematograph The Times [London]
March 31, 1914
10 The subtitle of this article reports: "New Process and Its Advantages." photography photography and visual communication photography, and color color, and photography color motion pictures color motion pictures, and color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA Natural Colours on the Cinematograph 25400 NC-17, R or PG-13? How the MPAA Votes Chicago Sun-Times
Jan. 23, 1994
Show 4 This article discusses how the movie industry's Classification and Rating Administration operates, notes that many theaters in urban malls will not carry NC-17 movies, that the largest video rental chain, Blockbuster, will not carry X or NC-17 rated motion pictures, and the uncut version of Sliver (1993) grossed twice as much abroad as it did in the United States. music Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation corporations sexuality sexuality motion pictures, and sexuality corporations corporations homosexuality Classification and Rating Administration (CARA) theaters MCA Universal Pictures theater owners censorship and ratings rating system (U.S.) rating system (U. S.) R-rating PG-13 motion pictures Music Corporation of America (MCA) law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture Wasserman, Lew CARA Heffner, Richard Valenti, Jack Valenti, Jack, and NC-17 NC-17 rating system (U. S.), and NC-17 movie, Henry and June motion pictures, and sex motion pictures, and sex lesbianism motion pictures, and lesbianism motion pictures, and homosexuality motion pictures, and homosexuality homosexuality CARA, and rating system (U. S.), and controversies Wasserman, Lew, and NC-17 Universal Pictures, and NC-17 Miller, Henry Kaufman, Philip MCA, and NC-17 MCA, and Cineplex Odeon theater chain theater owners, and NC-17 NC-17, and theater owners Pollock, Tom, and Universal Universal Pictures, and Tom Pollock Pollock, Tom, and NC-17 Kaufman, Philip, and Henry and June Heffner, Richard, and NC-17 Heffner, Richard, and Henry and June Heffner, Richard, and rating system (U. S.) NC-17 NC-17, and origins rating system (U. S.) system, and explanations R-rating, and explantions Valenti, Jack, and rating explanations Heffner, Richard, and rating explanations PG-13, and rating explanations CARA, and rating explanations Sliver (1993) NC-17, and Sliver (1993) NC-17, R or PG-13? How the MPAA Votes 15640 Negative Prints. Actors and Actresses Whose Photographs Are Most Popular Chicago Daily Tribune
Feb. 23, 1884
8 This article quotes the owner of fashionable stationery store saying that nine out of ten people who get photos of stage people are women. fame celebrity actors acting photography motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality sexuality, and photography women women, and photography photography, and sexuality audiences audiences, and women women, and audiences Negative Prints. Actors and Actresses Whose Photographs Are Most Popular 36680 Never On Sunday (aka Pote Tin Kyriaki) Jules Dassin Melinafilm, Lopert Films
1959
Never on Sunday (1960), a comedy filmed in Greece, and written and directed by a notable member of the Hollywood blacklist, Jules Dassin, was about “the strong sexuality of a modern ‘free’ woman,” a prostitute played by Melina Mercouri, and the unsuccessful efforts by an American tourist (played by Dassin) to reform her. Despite not having a PCA seal, the movie was a financial hit. Made for about $150,000, it earned at least $5 million in the United States alone. When the film played in Atlanta, censors tried to ban it as obscene, but the ban was overturned when the Fulton County Superior Court ruled that the city’s censorship law was unconstitutional. By that time, the movie had played in more than 2,000 theaters in 175 American cities. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) motion pictures, and foreign films Production Code, and foreign films law motion pictures, and local censorship Never on Sunday (1960) motion pictures, and blacklist Production Code, and prostitution children Never On Sunday (aka Pote Tin Kyriaki) 42690 The New Age of Color Saturday Evening Post
Jan. 21, 1928
200 22 “The effects of our chromatic revolution are everywhere apparent,” begins this brief article. It notes an increasing tendency to use color in public buildings, textiles, homes, and in consumer goods. It is the “chemists, laboratory men, and researchers” who are most responsible for “ushering in our new age of color.” The chemists liberated “scores of new hues from the gummy darkness of coal tar and other plentiful substances.”
The article notes that there have been some “unwelcome innovations, imported crudities which, as to both color and design, smack of Bolshevistic fondness for ugliness in the raw. And yet for the most part our plunge into the field of color has been a happy experience and one which we need not repent so long as we submit to the restraint of reasonably good taste.”
This article might be read in conjunction with Alexander Bakshy’s “Color in Modern Life,” Current History (July 1934). billboards color motion pictures electricity printing news and journalism books, newspapers, periodicals color, and newspapers color, and magazines newspapers, and color magazines, and color color, and dyes color, and chemists color, and architecture architecture, and color color, and textiles textiles, and color color, and billboards billboards, and color color, and bolshevism bolshevism, and color values color, and values values, and color color, and red books Books, Periodicals, Newspapers magazines print The New Age of Color 100 A New Art Being Developed in the Movies Current Opinion
June 1914
56 6 438-39 This article argues that motion pictures are a new art form and that they do "for the drama what printing did for literature." (438) The movies make "possible for the first time the unlimited reproduction of actual events. This world of ours," it argues, "is in constant motion, and no static art can adequately represent it." "We have now for the first time the possibility of representing, however crudely, the essence of reality -- that is motion," the article says, and it goes on to cite Henri Bergson. "'Bergson has shown us what a paralyzing influence static conceptions of reality have had upon history of philosophy and how futile have been all attempts to represent movement by rest.'" (source not given) In short, "the moving picture may mark a new epoch in the history of culture." (438)
The magazine says that henceforth it will review on a regular basis motion pictures just as it would good plays and books. The article notes that there are no standards in the press on what constitutes movie criticism. The article comments on the popularity of movies sets in the western United States, and notes that a new type of actor has emerged, one who be prepared to face real physical danger in filming. "Cleverness in improvization is his chief asset." (439)
This article appeared earlier in "The Birth of a New Art," The Independent, 78, no.3409 (April 6, 1914), 8-9. history duplicating technologies metaphors actors acting actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity history and new media motion pictures, and history history, and motion pictures motion pictures, and motion motion pictures, and actors actors, and motion pictures critics motion pictures, and critics motion pictures, and westerns motion pictures, and printing press duplicating technologies, and motion pictures motion pictures, and duplicating technologies motion pictures, and pulpit Bergson, Henri motion pictures, and movement A New Art Being Developed in the Movies 38940 The New Art of Advertizing -- or the Redemption of the Billboard Current Opinion
May 1913
54 5 406--08 This work reviews Paul Terry Cherington's book Advertizing as a Business Force (Doubleday, Page, 1913?). It also notes that the psychologist Hugo Münsterberg has recently analyzed the psychology of advertising. This article says that the "most striking characteristic of the 'new advertizing' is its alliance with art." (406) The article goes on to say that "The invasion of the new spirit of artistic endeavor in the field of the advertisement has been brought about, its champions tell us, by aiming not for the literal illustration of a commodity but to awaken the imagination: not for mere representation but for the creation of a spiritual and esthetic atmosphere by a decorative effect. Thus the new spirit in advertizing seems to parallel quite closely -- and perhaps dangerously -- the new spirit in the fine arts." (406) The article notes that public interest in posters and placards has been revived recently in Europe, especially in Berlin, and in the United States by the International Art Service in the Aeolian Building in New York City.
This article comments on the ever-present billboard and says it "has been despised and rejected by champions of civic beauty...." (406) Münsterberg, Hugo Munsterberg, Hugo magazines illustrations billboards art advertising and public relations advertising, and new art form advertising, and psychology Münsterberg, Hugo advertising, and Hugo Münsterberg color color, and advertising advertising, and color art, and advertising advertising, and art illustrations newspapers, and illustrations magazines, and illustrations advertising, and illustrations modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising advertising The New Art of Advertizing -- or the Redemption of the Billboard 37730 New Cameras Los Angeles Times
Jan 4, 1901
9 This article reports that amateur photographers are finding that they have more sophisticated equipment that they can afford. Lenses are improving and cameras are becoming less expensive and more portable. "The cost of cameras has very materially decreased in the last few years, yet the price of a fine instrument must necessarily remain high."
The article says that "fully one-half of the smaller cameras now sold are what is called in the trade cycle cameras. The larger of these come in a box much flatter than that used with the ordinary camera designed to produce like results. This difference in form is that the camera may be swung under the bicycle without coming in contact with the rider's legs. Still other smaller cycle cameras merely have a strap or hook attachment to fasten them on wherever is most convenient. It has about come to the pass that a bicycle that is used for mere pleasure riding is hardly fully equipped for the road unless it has a camera swung from some part of its anatomy, ...."
Amateurs have shown increasing interest in telephotography. "A good deal has been printed concerning this branch of photographic work in certain of the foreign magazines, the descriptive articles being accompanied by reproductions of photographs which showed some very remarkable results...."
The article comments on portable moving pictures cameras. "One of the latest developments of the camera in small size is an instrument that will take pictures of motion. It is in other words nothing more or less than the attachments of the biography mechanism on a greatly reduced scale. One of these cameras can be carried in the hand as readily as the ordinary Kodak, and the amateur will be able to take a picture of any scene of action about him that he chooses. Of course, to reproduce this picture the corresponding machinery must be maintained at home, unless as is already the case with the larger biographs, the hand camera is provided with mechanism to project the picture upon the screen as well as take it. As a matter of fact the amateurs have not as yet made intimate acquaintance with this particular form of camera and only comparatively a few of them have been produced. (emphasis added)
"Probably the next step forward in the matter of inventions touching photographic supplies will be in the way of developers. These will be made much simpler than they now are and hence more successfully handled by those who do amateur work."
The article's subtitle reads: "Costly Instruments Manufactured for Amateur Photographers -- A Hand Biograph." lenses home cameras cameras, and movement cameras, and portability motion pictures, and movement cameras, hand cameras, and lenses lenses, and cameras cameras, and affordability cameras, and amateurs photography and visual communication photography, and cameras photography, and lenses motion pictures telephotography photography, and telephotography telephotography, and amateurs motion pictures, and hand cameras home and new media home, and home movies cameras, and home movies motion pictures, and amateurs cameras, and cycle cameras cameras, and bicycles photography, and bicycles photography New Cameras 790 A New Cinematograph Process The Times [London]
Dec. 23, 1911
11 This piece discusses a new development in making moving pictures. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences kinetoscope A New Cinematograph Process 41300 New Color Moods for the Screen Rochester, NY Eastman Kodak Company
1930-39?
This document comments on how Eastman Kodak believed that colors could have a stronger influence on the moods of movies audiences than black and white. It begins: "It is certain that many of the emotional moods which the motion picture seeks to capture reside in colors rather than in gray tones. Psychologically the grays have a subduing, sobering power, and this power is constantly at work upon the observer of a motion picture which is screened in the monochrome of ordinary untinted films." [emphasis added]
"Although gray may deepen certain moods of the screen, the peaks of emotion are usually flattened off by it, an effect which is far from ideal. A wider range of stimulation and depression seems possible through a systematic use of the affective values of different colors. The language of color as applied to the screen is still rudimentary, but that colors do have certain consistent emotional effects is well established by psychological tests." (p. [3]) [my emphasis] For example, in addition to gray, this document comments on the effects of "Verdante, a delicate green." (4) Its impact is "Refreshing. The sunny green of vegetation in spring and early summer. Simply furnished interiors." (11) Its use can also partly nullify "the impression of a somber scene, and ... it pulls down the mood of a scene that is impassioned and full of excitement." (5) [my emphasis] As for other colors, "rose doree" is "A rose pink that quickens the respiration. The tint of passionate love, excitement, abandon, fete-days, carnivals, heavily sensuous surroundings." (8) "Peachblow" is "Allegretto vivace. A tint for brief, joyous moments, buoying up scenes of light, sensuous content. The spirit of coquetry. An excellent tint for close-ups." (8) "Purplehaze" is best for "dim interiors and outdoor settings obscured with haze. Languorous, dreamy, narcotic." (13) [emphasis added]
The work then discusses Eastman Sonochrome films. "The saturation of all the tints is low enough so that they can not become distracting elements in the scene but remain entirely atmospheric effects." (p. [3]) It notes that "Lighting of realistic color content is a primary emotional source to which the motion picture has never before had such free access." (4)
This 13-page, undated pamphlet was probably prepared around 1930 or shortly thereafter. It is similar to a presentation made by Loyd A. Jones in 1929 ("Tinted Films for Sound Positives," Transactions of the Society of Motion Picture Engineers, 13 [May 6-9, 1929], 199-226). Jones worked for Kodak Research Laboratories in Rochester, NY. The sixteen tints, which are similar to those mentioned by Jones in May, 1929, include: sunshine, candleflame, firelight, afterglow, peachblow, rose doree, verdante, aquagreen, turquoise, azure, nocturne, purplehase, fleur de lis, amaranth, caprice, and inferno. The subtitle of this pamphlet reads: "A spectrum of sixteen delicate atmospheric colors, keyed to the moods of the screen, in the new series of Eastman Sonochrome Tinted Positive Films for silent or sound pictures."
Jones in 1929 had noted that tinting often interfered with sound in the early talking films. Eastman Kodak now maintains that Eastman Sonochrome tinting will not interfere with sound films. The "tints may be used in any sequence, permitting absolute freedom in the shifting moods, without affecting the sound." (5) color color, and tinting motion pictures motion pictures, and color color, and motion pictures motion pictures, and tinting color, and green color, and sexuality sexuality, and color sexuality color, and gray lighting lighting, and color color, and lighting motion pictures, and lighting lighting, and color films sound recording color, and sound films motion pictures, and sound sound recording, and early color films color, as drug color, as narcotic New Color Moods for the Screen 15230 A New Colour Photography The Times [London]
April 18, 1896
12 A report on the status of color photography in Great Britain in 1896. photography photography and visual communication photography, and color color, and photography color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA A New Colour Photography 6670 New Company Organized to Promote Television New York Times
May 31, 1931
XX 11 This article reports that “Television activity and possibilities of seeing by radio are said to be the inspiration for the organization of the Freed Television and Radio Corporation….” home history De Forest, Lee electricity motion pictures history and new media history, and motion pictures home and new media television, and home home, and television home entertainment modernity modernity, and television television, and modernity new way of seeing television, and space and time space and time television, and time television, and space De Forest, Lee, and television television, and Lee De Forest home, and electricity electricity, and home electricity, and home entertainment television radio radio, and television television, and radio seeing at a distance New Company Organized to Promote Television 41380 A New Conception of Color Vision Current Opinion
May 1917
62 5 339 This article discusses the way selenium cells change their "resistance to a current of electricity when exposed to light." color electricity electricity, and color color, and electricity color, and selenium electricity, and selenium television color, and television color, and selenium television, and selenium television, and color A New Conception of Color Vision 15690 New Device for Moving Pictures Chicago Daily Tribune
Aug. 30, 1908
E 4 This article explains why talking films were not yet feasible in 1908. It discusses the problems of actors having to speak directly into phonograph and then again before the camera. The two performances must by matched perfectly. “The performance as yet must be limited by the capacity of the phonograph records, which does not exceed three minutes. The phono-cinematograph thus is limited to topical songs or brief dramatic scenes; it cannot yet play the part of a people’s theater, which seems to be its manifest destiny.” motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Edison, Thomas Edison, Thomas, and sound film motion pictures, and talking films (origins) New Device for Moving Pictures 16270 New Edison Films Shown New York Times
Dec. 22, 1912
C 6 The members of the New England Society of Orange saw one of Thomas Edison's films at a dinner. The article, paraphrasing Edison, said that the inventor expected to “revolutionize education through motion pictures.” The article reported that it was first time women were allowed at this meeting. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison education motion pictures, and education education, and motion pictures women women, and motion pictures New Edison Films Shown 15940 New Field Found for Moving Pictures New York Times
Feb. 27, 1910
4 This article begins by saying that "The educational moving pictures, so long threatened, have arrived." It then offers examples. "Most highly educational, though not particularly pretty, is the fly film, made up at the request of the Water Pollution Association. Nothing is left to the imagination. First, there is the fly laying eggs in unsavory places, and then, before the eyes of the spectators, the eggs develop into a wriggling heap of maggots...." The subtitle of the article reads: "Scientists Expect Value Results from Photographing Chemical Processes; Already Used in Europe; Geography and History Among the Branches Taught -- Educational Films Show by Censorship Board Here." history censorship photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures history and new media motion pictures, and history history, and motion pictures motion pictures, and science non-USA non-USA, and educational films motion pictures, and geography censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings New Field Found for Moving Pictures 15400 New Hero for Matinee Girls Los Angeles Times
Feb. 6, 1910
II 3 This article, which appeared in Feb., 1910, notes the appearance of something new, the “motion picture hero.” “There has sprung up a new matinee hero. Unlike the matinee idol of debutantes of a few years ago, the new person, attracting the attention of High School girls and others, performs on the screen. In a word he is a motion picture hero.
“Regular patrons of the many moving picture theaters of the city and the most of the patrons are regulars have learned to know the different characters of the pictures, and no matter what character is assumed by the actors, their mannerisms are easily detected.
“Just to see these persons in the different characters, large parties of young women may be found any afternoon in the places where the pictures are shown….” Goes on to say that to the uninitiated, the different performances may be the same but to those who go to many films, the differences in characters are well known. Often the actors can be found relaxing in the lobbies of L.A. hotels.
The subtitle for this article reads: "They Watch His Actions in Moving Pictures. Regular Patrons Learn to Spot Favorite Posers in the Various Characters in Which They Appear The Real Stars May Be Seen in Los Angeles, Too." Los Angeles history fame celebrity actors acting photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures history and new media motion pictures, and history history, and motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures, and new art form motion pictures, and stars (origins) advertising and public relations motion pictures, and press agents heroes heroes, and motion pictures motion pictures, and heroes motion pictures, and Los Angeles Los Angeles, and motion pictures advertising New Hero for Matinee Girls 31950 A New Medium -- and a Lot of Messages Newsweek
Aug. 10, 1970
76 42-43 This article notes that the prerecorded video cassette could become "a revolutionary new medium." (42) The article notes that there are several film libraries putting movies on tape -- many of the films are high quality but also such movies as I'm Curious Yellow are being put on the new format. CBS's Electronic Video Recording (EVR) sold in 1970 for about $795 but the price is predicted to come down to about $300 in 1972. video cassette recorders (VCRs) sound recording magnetic recording VCRs television television, and VCRs VCRs, and television motion pictures, and VCRs motion pictures home and new media home, and VCRs casettes, video video cassettes videotape, EVR (CBS) I'm Curious Yellow home videotape magnetic tape A New Medium -- and a Lot of Messages 660 The New Moving Pictures New York Times
Dec. 12, 1909
SM 4 Pictures that can be magnified 2,000,000 to 76,000,000 times, this article explains in 1909. “Urban has also perfected a device for micro-photography in connection with moving picture machines that enables him to display thousands of things that no one ever sees with his naked eye. He has now reached the point where he can magnify things from 2,000,000 to 76,000,000 times. In order to do this, it was necessary to turn a 2,000-candle power light on the speck that he wanted to photograph, and this without generating enough heat to spoil the speck.” Other examples of new photography are given.
This article provides insight into the status of color photography in 1909. In England, Albert Smith, who worked for Charles Urban, worked on making moving pictures that record colors. Parallels drawn to the way the phonograph captures sound. Notes that “colored moving pictures have for months been shown in three of the most important theatres of Europe at the Palace in London, at the Winter Garden in Berlin, and the Follies Bergera(?) in Paris. Every publication in the British Isles, as well as on the Continent, has testified to the fidelity with which black and white negatives have been made to reproduce all of the colors of the rainbow but the American moving-picture man was skeptical. He didn’t believe colored pictures could be made that way.” Demonstration given at Madison Square Garden of a vase of flowers, motor boat on open water, and other scenes. The film reproduced a rainbow over Potomac Falls. “And it wasn’t a splash out of all the point pots. It was an infinitely delicate commingling of colors -- a rainbow!” “Mr. Smith, the inventor of the color process … is a short, compact little Englishman of middle age, who has had one of the greatest honors that Englishmen hope to get. He has been commanded to appear before the King” where he “showed his colored moving pictures to Edward VII, and was told he was all right.” Smith discussed Urban’s efforts at producing education films. “His films are flying text books.” They cover almost every subject science, medicine. Notes film important to teaching the art of surgery or art of war. Urban has also perfect micro-photography that can magnify things from 2 to 76 million times. Geographic and historic scenes also shown.
The subtitle to this article reads: "Their Recent Developments and Services to Commerce. Some Interesting Experiments With the Camera That Open Up Suggestive Fields Of Usefulness in Science and Photography." photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space cameras cameras, and movement cameras, and portability motion pictures, and movement education education, and motion pictures motion pictures, and education color non-USA Great Britain Great Britain, and color films motion pictures, and Great Britain Great Britain, and motion pictures non-USA, and motion pictures motion pictures, and non-USA education capitalism education, and motion pictures motion pictures, and capitalism capitalism, and motion pictures motion pictures, and education motion pictures, and business color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication motion pictures, and science war war, and motion pictures motion pictures, and war motion pictures, and medicine microphotography photography, and microscope photography, and microphotography kinemacolor kinemacolor, and George Albert Smith kinemacolor, and Charles Urban photography, and pictures magnified 76 million The New Moving Pictures 41560 New Multi-Color Press Now Being Built for the Tribune Chicago Daily Tribune
Jan. 27, 1901
33 The Tribune says that four new, unique presses (three octuples and a multi-color printing machine) of "entirely new types" are being constructed for the Tribune by the R. Hoe & Company of New York. When finished, the "combined capacity of the pressroom in the new building, not counting the color press, per hour, will be:
"558,000 eight-page papers.
"324,000 twelve-page papers, all inset.
"279,000 sixteen-page papers, all inset.
"Larger papers will be printed in the same relative ratio. At one revolution of the printing cylinder a sixty-four-page paper, folioed from pages 1 to 64, can be printed by first making an inset of sixteen pages and then collected as four sixteenths in one offset, which is placing each section in its relative position."
Other information provided included: "When running each press will be fed from four rolls of paper at one time, running at railroad speed. To make the plates for one run will require 10,000 pounds of stereotype metal, and 3,000 pounds of ink will be required to fill the fountains. The presses will start with twenty-four rolls of paper in position, each weighing 1,500 pounds, or 36,000 pounds in all.
"Many wonder comparisons might be made to show what such an amount of paper and ink and stereotype metal means in the more common affairs of life. The paper on each roll, if stretched out on the ground, would reach five miles, and there is accordingly on the presses when they start 120 miles of white paper. Counting stereotype metal at six cents a pound, it will cost ??? to furnish the metal to make the plates. The 3,000 pounds of ink, mixed in proper quantity in oil, would paint every elevated railroad structure in town. By supplying new rolls of paper as the old are exhausted and running the presses at full speed it would take but five hours to give a stretch of paper to San Francisco. It run four hours a day the presses would eat up paper from a half-acre of poplar trees."
The new machines are much faster to operate and thus to produce the news, the article says. "As soon as the new plates are put on, all that will be necessary to do will be to slacken the speed of the moving part, while the part receiving new plates is getting under way. But a minute or two is required to make the change."
The article is accompanied by a picture of the new presses. journalism electricity modernity modernity, and electricity electricity, and modernity new way of seeing news and journalism electricity, and journalism journalism, and electricity electricity, and newspapers newspapers, and electricity magazines, and electricity electricity, and magazines newspapers, and printing speed (1901) electricity, and Industrial Revolution railroads, and electricity electricity, and railroads books, periodicals, newspapers printing presses printing press, and speed steam power, and newspapers steam power, and printing newspapers, and steam power paper printing, and paper paper, and printing magazines print railroads steam power New Multi-Color Press Now Being Built for the Tribune 41990 A New Peril to Eyesight Current Literature
Sept. 1906
41 3 336 This article summarizes research that appeared in the German scientific publication Prometheus (Berlin). It argues that the "penny-in-the-slot machines" that showed moving pictures were likely to damage the eyesight of children. "If the use of the moving picture as a form af amusement becomes very general, as it threatens to become, the next generation may be incapable of using the sense of sight with exactitude," this piece says. It recommends avoiding, "as far as possible, all straining of the sight through these instruments. They are accused of lowering the vitality of many children who have frequent recourse" to these machines. The article says that more than ever before, sight is important helping people reconcile with their physical surroundings. motion pictures children and media motion pictures, and children children, and motion pictures motion pictures, and damaged eyesight censorship and ratings motion pictures, and censorship censorship, and motion pictures media effects media effects, and motion pictures motion pictures, and media effects censorship children A New Peril to Eyesight 14500 New Plays Without Words Are Put on Films Here Los Angeles Times
Oct. 10, 1909
II 16, 20 There are about 10,000 theaters showing association films and “about 2,000 using the independent films.” (p. II 20) The article's subtitle reads: "Southern California Conditions Found to Be Ideal for Moving Picture Work Because of Very Small Size of Negatives and Great Rapidity of Exposures Real Actors in Demand for Pictures." Los Angeles censorship actors acting actors acting motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology theaters motion pictures, and theaters theaters, and motion pictures audiences audiences, and theaters theaters, and audiences motion pictures, and attendance motion pictures, and independent films Los Angeles, and motion pictures motion pictures, and Los Angeles motion pictures, and business motion pictures, and independent films theaters, and independent films actors, and status of modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business advertising and public relations motion pictures, and advertising advertising, and motion pictures advertising New Plays Without Words Are Put on Films Here 37220 A New Printing Process New York Times
April 5, 1914
14 This article is about the reproduction in color in the New York Times by the rotogravure process of art work from the Altman collection. The paper asks: "Is it not clear that these are the very impressions the original painting makes upon the eye and mind? But if that is the case, then the picture in the Times to-day is a faithful reproduction of Hobbema's canvas, it is the landscape Hobbema saw, seen through the medium of Hobbema's temperament indeed, but offered to the eye by a medium other than Hobbema's canvas.
"That is very evidently the truth about the rotogravure process. It is a wonderful interpretative method, rendering with a fidelity hitherto unattainable the very truth, the quality, the beauty, the tenderness, and the sentiment of the painter's own work with the brush. These great pictures are reproduced upon presses which the Times has imported and set up in its Annex Building. The success attained in the very first use of these presses, which is extraordinary, encourages the belief that this new method of printing will be in the future very freely employed in the production of this newspaper." rotogravure journalism magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies duplicating technologies, and art art, and duplicating technologies advertising art history A New Printing Process 38190 New Scientific Marvels That Are Channing [sic] the Habits and History of Humanity Chicago Daily Tribune
Aug. 16, 1908
F 4 The Tribune covers briefly several innovations including "Grand Opera of Future" (about "Preserving Grand Opera Records for Future Generations"), "Ocean Wave Telegraphy," and "Pictures by Telegraph." The latter concerns Arthur Korn's invention in Germany. wireless communication history historical preservation historical preservation, and sound recording telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph duplicating technologies duplicating technologies, and photography duplicating technologies, and facsimile wireless telegraph, and ocean wave telegraphy history and new media sound recording, and opera sound recording, and historic preservation historical preservation, and sound recording sound recording, and music Korn, Arthur Korn, Arthur, and pictures by wire materials materials, and selenium non-USA non-USA, and pictures by wire Germany Germany, and pictures by wire photography sound recording New Scientific Marvels That Are Channing [sic] the Habits and History of Humanity 14510 New Strand Opens New York Times
April 12, 1914
15 The subtitle of this article reads: "Biggest of Movies; Handsome Theatre at Broadway and 47th Street Seats Almost 3,500 People; Orchestra and Quartet…." motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as palace New Strand Opens 760 New Things in Moving Pictures New York Times
June 29, 1902
25 Virtually every vaudeville theater has its on moving picture machine, according to this piece, and during the past year the subject matter of moving pictures had changed from natural scenes of water falls and going over bridges, to scenes in which comedy played a large role. It also discuss how movie illusions are created (chicken and egg trick; “Impossible Bathing”; “The Tramp’s Miraculous Escape”; “The Photographer’s Mishap”; and “One Man Orchestra.”
“Of late nearly all the pictures produced have been either of a comic or a mysterious nature. Where a year or so ago those ‘in front’ were treated to realistic scenes of Niagara Falls, a trip across Brooklyn Bridge, or a view taken from the locomotive of an English railway train, they will now be sow with humorous exaggeration how Mrs. O’Grady deals with her husband when he come unsteadily home on Saturday night minus his wages, or they will be permitted to gaze upon the remarkable spectacle of a clown ambling about the canvas, detaching his head or limbs at will….
“It is perhaps regrettable that such a wonderful invention as the reproduction of life motion by aid of the camera should have degenerated into a mere toy, but shrewd caterers to the amusement-loving public know that it order to interest they must amuse and mystify at the same time. Hence the retirement of the scenic view and the advancement of the clown with the accommodating organism.”
It notes that some of the illusions, such as “the clown with the adjustable head” had been performed on stage. “Views on the order of the clown with the adjustable head are of course made by the aid of mirrors. The same thing is done on the stage, and is familiar to every one. What appears on canvas is simply a photograph of what appears on the stage, only in many cases the mystic effect can be greatly intensified by the way it which the camera may be juggled, so to speak.”
This article's subtitle reads: "Recent Development of Mysterious and Puzzling Photographs Apparent Impossibilities Accomplished by the Camera How the Egg-and-Chicken Illusion Is Produced." theater stage motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and new art form motion pictures, and psychology motion pictures, and magic motion pictures, and special effects special effects, and motion pictures special effects New Things in Moving Pictures 41040 New Walls Aid Beauty Los Angeles Times
April 10, 1939
B 12 The LA Times mentions that Natalie Kalmus, who was head of Technicolor's color advisory service, has a chapter in a book entitled "Lovely Wall, Lovely Lady," published by "the makers of a new type, washable wall finish which gives a velvety texture to walls." Kalmus says that the color of one's walls should be chosen to accent a woman's natural colors. The paint dealer was apparently a local firm in the Los Angeles area. Kalmus, Herbert censorship censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and novelty color, and music Kalmus, Natalie, and color music women women, and color beauty, and color color, and beauty color, and beautiful women New Walls Aid Beauty 31920 New York Times Oral History Program, the American Film Institute Seminars
June 2, 1973; April 10, 1976
Center for Advanced Film Studies, Beverly Hills, CA This collection contained seminars on the work of cinematographers Winton C. Hoch (Part I, No. 82) and Haskell Wexler (Part I, No. 188). Nichols, Mike motion pictures cameras cinematography Wexler, Haskell motion pictures, and videotape videotape videotape, and motion pictures Steadicam cameras, and Steadicam television television, and videotape videotape, and television videotape, and The Graduate Nichols, Mike, and videotape magnetic tape magnetic recording New York Times Oral History Program, the American Film Institute Seminars 22250 Newlook
1980s
See also: violence See also: sexuality According to testimony at the Meese Commission hearings, this Penthouse-owned magazine carried advertisements that show/promoted violence against women. women, and new media advertising, and public relations propaganda public relations sexuality media effects media violence pornography women violence violence, and women advertising advertising, and violence women, and violence media effects media effects, and violence 14920 Newsies Cheer for Lincoln New York Times
Feb. 12, 1905
2 This article reports that newsboys attened a meeting in which they first heard about Abraham Lincoln’s life and “then settled in their seats to take in a series of stirring moving pictures. Among them was a train robbery, with the pursuit and capture of the thieves, after a desperate battle with a Sheriff’s posse.” The article's subtitle reads: "Three Hundred of Them the Guests of F. Delano Weeks." nationalism history children motion pictures, and Americanization motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship, and violence children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures history and new media motion pictures, and history history, and motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism censorship censorship and ratings Newsies Cheer for Lincoln 6420 [Newspaper advertisement for Birth of a Nation] New York Times
March 14, 1915
X 10 In this newspaper ad for Birth of a Nation is an excerpt from the New York American (Friday, March 5, 1915) which carried an article by Rev. Thomas B. Gregory entitled “‘Birth of a Nation’ True and Wonder Work.” Gregory wrote: “‘Seeing is believing’ and in this wonderful photo play we actually see the birth, growth and coronation of this King of Nations, this giant of the Powers of the earth a people compared with whom the Romans were but as pygmies.
“As if by the waving of some magician’s wand the great scenes are, one after another, unrolled before us.” history words vs. images photography presidents and new media photography and visual communication motion pictures Wilson, Woodrow Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words war motion pictures, and war war, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures photography and visual communication Birth of a Nation Griffith, D. W., and Birth of a Nation motion pictures, and magic special effects, and motion pictures motion pictures, and special effects motion pictures, and new art form motion pictures, and psychology motion pictures, and Thomas Gregory Birth of a Nation, and Thomas Gregory advertising special effects [Newspaper advertisement for Birth of a Nation] 6390 [Newspaper advertisement for Birth of a Nation] Chicago Daily Tribune
June 7, 1915
12 This newspaper ad for Birth of a Nation quotes Richard Harding Davis saying “For the first time in a theatre a battle scene has been presented as it actually is.” It quotes Griffith saying that this movie “will never be presented in any but the highest class theatres and at prices customarily charted in such playhouses.” history words vs. images photography presidents and new media photography and visual communication motion pictures Wilson, Woodrow Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words war motion pictures, and war war, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures Davis, Richard Harding, and Birth of a Nation advertising [Newspaper advertisement for Birth of a Nation] 6400 [Newspaper advertisement for Birth of a Nation] Chicago Daily Tribune
June 20, 1915
E 4 This ads says: “Night Photography of Battle Scenes, Invented and Perfected at a Cost of $12,000.” history words vs. images photography presidents and new media photography and visual communication motion pictures Wilson, Woodrow Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words war motion pictures, and war war, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures photography and visual communication lighting motion pictures, at night motion pictures, and lighting lighting, and motion pictures lighting, and photography photography, and lighting Birth of a Nation Griffith, D. W., and Birth of a Nation advertising [Newspaper advertisement for Birth of a Nation] 6410 [Newspaper advertisement for Birth of a Nation] Chicago Daily Tribune
June 27, 1915
E 4 Newspaper ad for Birth of a Nation: “Wonderful Artillery Duels, in Which Real Shells Costing $80 Apiece Were Used. Miles of Trenches. Thousands of Fighters 'War As It Actually Is.’” history words vs. images photography presidents and new media photography and visual communication motion pictures Wilson, Woodrow Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words war motion pictures, and war war, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures photography and visual communication Birth of a Nation Griffith, D. W., and Birth of a Nation advertising [Newspaper advertisement for Birth of a Nation] 37720 [Newspaper Advertisement for The Close-Up] Outlook
Dec. 4, 1918
547 This is an ad for a new book by Margaret Turnbull, published by Harper in 1918, entitled The Close-Up. The description of the book in this ad reads: "Tells the story of a simple, everyday New York girl who became a movie star over night out in the golden West. It is the story of her triumphs and successes -- of her hardships and struggles -- of the friends she makes in this strange world of make-believe -- and of the gay, devil-may-care life she leads for a time.
"The story is big and colorful with very real and very human people -- people who love life and get the most out of it -- in whose natures there are depths of kindliness and helpfulness often unsuspected beneath masks of frivolity and temperament. And there are some real actresses in it, too -- people you will recognize by what the book tells about them." fame celebrity anti-theatrical prejudice actors acting motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality motion pictures, and close-ups photography, and close-ups actors, and status of anti-theatrical bias actors, and bias against actors photography [Newspaper Advertisement for The Close-Up] 37320 [Newspaper Advertising for Rotogravure Supplement] Chicago Daily Tribune
Feb. 28, 1915
1 This page-one ad reads: "Be Sure You Get the Tribune's Pictorial Supplement Today. Mary Pickford, "Queen of the Movies" -- 8-Page Rotogravure Supplement for Next Sunday." rotogravure journalism illustrations fame celebrity magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies non-USA non-USA, and rotogravure process rotogravure process, and Germany Germany, and rotogravure process Germany illustrations illustrations, and rotogravure press materials materials, and rotogravure process rotogravure process, and materials celebrity culture celebrity, and rotogravure process personality personality, and rotogravure process rotogravure process, and personality fame, and rotogravure process rotogravure process, and fame rotogravure process, and stars photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality advertising and public relations advertising, and Mary Pickford advertising history [Newspaper Advertising for Rotogravure Supplement] 16440 Newspaper Illustration Chicago Daily Tribune
April 27, 1890
36 This article, written by Mr. De La Pointe of the Tribune's pictorial department, explains the process of illustrating a newspaper. "After the etching leaves the engraving room three complete processes are requisite before a copy of it appears on the cylindrical matrix from which possibly an enormous issue is printed." He then discusses electric engraving. Following La Point's commentary is a piece entitled "Photographic" (by "Stevens"?). It talks about "print production," "improved paper," "retouching machine," and "color photography." "The production of color negatives is still impracticable..... The discoverer of color-photography will rank with Daguerre."
Just above this piece is P. J. Masterson's commentary on "The Newspaper Printing-Press." wood engraving journalism journalism magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving electricity electricity, and journalism journalism, and electricity electricity, and newspapers newspapers, and electricity illustrations, and newspapers newspapers, and illustrations newspapers, and electric engraving electric engraving newspapers, and printing speed (1890) color color, and photography photography, and color newspapers, and color color, and newspapers illustrations motion pictures Newspaper Illustration 15010 Next to Color Photography Chicago Daily Tribune
June 18, 1893
27 The subtitle of this article reports that "The Hues of Nature Reproduced by the Camera." photography color, and photography photography, and color photography and visual communication color Next to Color Photography 13870 Nickel Picture Men Must Hurry Chicago Daily Tribune
Dec. 30, 1908
6 This article reports on the effort to require licenses for people who run moving picture shows. This article subtitle reads: "Operators Warned to Get Licenses by Jan. 15 or Places Will Be Ordered Closed; Police Chief in Haste; Tells Commissioners to Rush the Examinations; Argument on Murder Films." Chicago, IL censorship censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology motion pictures, and projectionists censorship, and projectionists motion pictures, and Chicago Chicago, and motion pictures censorship, and Chicago Chicago, and movie censorship law motion pictures, and law law, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures Nickel Picture Men Must Hurry 14440 Nickel Theater Pays Well; Small Cost and Big Profit Chicago Daily Tribune
April 8, 1906
I 3 This article explains that opening a nickel theater to show moving pictures is inexpensive and is likely to bring substantial profits. Chicago, IL censorship censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship and ratings censorship, and movie theaters Chicago, and motion pictures motion pictures, and Chicago Nickel Theater Pays Well; Small Cost and Big Profit 13860 Nickel Theater Perils Revealed Chicago Daily Tribune
Dec. 27, 1908
1 This article discusses the dangers of 5-cent theaters and the fact that many of the moving picture shows are run by people who do not have licenses. This article's subtitle reads: "More than 300 Moving Picture Shows in City Are Run Without Licensed Operators; Police May Close Them; Examining Board Displays Little Zeal in Requiring Compliance with Ordinance." Chicago, IL censorship censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology motion pictures, and projectionists censorship, and projectionists motion pictures, and Chicago Chicago, and motion pictures censorship, and Chicago Chicago, and movie censorship law motion pictures, and law law, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures Nickel Theater Perils Revealed 14220 Nickel Theaters Crime Breeders Chicago Daily Tribune
April 13, 1907
3 This article reports that “A number of fires have occurred in the theaters, due to the burning out of some portion of the electric apparatus or to this films catching fire.” It notes that “Five cent theaters are springing up all over Chicago like mushrooms.” Articles notes that “A big plant where the pictures will be manufactured is now being erected at Belmont and Western avenues” in Chicago.
The article gives the titles of several crime pictures. It notes that “Residence Districts Invaded.” It says “Suggestive Picture Shown” and says of a film of “Parisian manufacture” called “Cupid’s Thermometer,” that “There is enough hugging and kissing in that series of pictures to make a foolish girl dream of love for a solid week.” It also discusses the film “The Unwritten Law” about the “Thaw Case.” The article contends that: “Influence on Children Bad” from these kinds of films.
This article's subtitle reads: "Judge Cleland Says Children Should Not Be Allowed to Attend Some of Them. Vice Shown in Pictures. Illustrations of the Thaw Case Displayed in Many Places in the City." children Chicago, IL motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire hazards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children media effects children, and media effects media effects, and children motion pictures, and crime values values, and motion pictures motion pictures, and values motion pictures, and Chicago Chicago, and motion pictures electricity, as fire hazard metaphors theaters, as mushrooms sexuality motion pictures, and sexuality sexuality, and motion pictures motion pictures, and Unwritten Law motion pictures, and Thaw Case motion pictures, and Cupid's Thermometer Cupid's Thermometer motion pictures, and business metaphors, and mushrooms Nickel Theaters Crime Breeders 14650 The Night Display Los Angeles Times
Sept. 10, 1895
1 This article begins by saying that "Aladdin and his lamp could not have conjured up a more brilliant demonstration than was seen in Sacramento tonight. California's capital city was aflood with light, a light which rivaled the moon. The people were celebrating the introduction of a mighty electric power, generated at Folsom, twenty-two miles away, and brought here in sufficient quantity to turn all of the wheels of commerce and illuminate every house.
"It was a carnival night in every sense of the word.... All the trees in the front of the building were covered with incandescent lamps, in carnival colors, cherry red, apple green and poppy yellow, making them look like an enormous collection of Christmas trees." electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity advertising and public relations electricity, and advertising advertising, and electricity metaphors metaphors, and Aladdin electricity, and Aladdin electricity, and magic advertising The Night Display 14640 The Night Parade Los Angeles Times
April 21, 1895
6 This article begins by saying that "When Aladdin rubbed the magic ring, and by the power of the genii worked his will in such delightfully mysterious fashion, and wandered through the subterranean region where the glint and sheen of myriad-hued shops reflected their light into his eyes, he witnessed no more dazzling array of scenic beauty than was apparent last evening in this city.
"Wander where one might, gay Chinese lanterns twinkled brightly, and cast grotesque shadows on the moving throng beneath. In the dim light the bunting flapped lazily in the breeze, but the quiet color tone later on gave place to a blaze of light than transformed the scene as if by magic. Throughout the streets along the line of march during the time of the passage of the procession, the scene seemed like a little bit of fairyland. The air was filled with fiery bolts of many hues; at intervals the cauldrons of red fire blazed up and cast their weird shadows, which the somber background of foliage only rendered more intense...." electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity advertising and public relations electricity, and advertising advertising, and electricity electricity, and magic metaphors metaphors, and Aladdin electricity, and Aladdin advertising The Night Parade 14290 Non-Inflamable Cinematograph Film The Times [London]
June 25, 1912
4 This report is on the fire dangers of celluloid. motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children women women, and movie theaters motion pictures, and women electricity, as fire hazard non-USA Great Britain Great Britain, and motion pictures Great Britain, and celluloid children Non-Inflamable Cinematograph Film 14300 Non-Inflamable Cinematograph Films: Substitutes for Celluloid The Times [London]
Dec. 18, 1912
21 This article reports on possible replacement material for flamable celluloid. motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children women women, and movie theaters motion pictures, and women electricity, as fire hazard non-USA Great Britain Great Britain, and motion pictures Great Britain, and celluloid children Non-Inflamable Cinematograph Films: Substitutes for Celluloid 13940 Not in the ‘Movies’ Chicago Daily Tribune
Aug. 28, 1914
8 This article give specific examples of films cut or censored by Chicago authorities. Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures motion pictures, and Chicago Chicago, and motion pictures censorship, and Chicago Chicago, and movie censorship advertising and public relations Not in the ‘Movies’ 36490 La notte brava (aka On Any Street; Les garçons; Bad Girls Don't Cry) Mauro Bolognini Medallion Pictures; Miller Producing Company
1962 (USA); 1959 (Italy); 1961 (France)
This movie opened in New York City on January 24, 1962, and was one of several foreign films that dealt with themes that were outside Hollywood's Production Code as it was written in 1930. For example, prostitution and homosexuality were subjects that had been permitted with qualifications when the Code was revised in 1956 and 1961 respectively.
Plot summary from American Film Institute Catalog: "Ruggeretto, Scintillone, and Bella-Bella, three indolent young cynics, steal some rifles and pick up two prostitutes on their way to a "fence" on the outskirts of Rome. During the transaction, they pick up a third prostitute who wants a ride back to the city. En route, the youths stop the car, take the women into the woods for the afternoon, and then leave without paying them. They soon discover, however, that one of the women has stolen all their money. Back in Rome, the companions attempt to steal a movie camera from an automobile and get into a brawl with its occupants, three wealthy homosexuals who then treat them to an evening of drinking. At the apartment of one of their newfound friends, Achille, the inquisitive Ruggeretto wanders into a bedroom and finds Laura. He seduces her, although he is unsure whether she is Achille's sister or the maid. Bella-Bella then steals his host's wallet, and the three hoodlums race from the apartment. As Bella-Bella and Ruggeretto argue over the money, Scintillone picks up the wallet and skulks off. He meets an old flame, Rossana, and promises her a night on the town, but he creates a disturbance at a posh restaurant and is led away to jail. Ruggeretto arrives on the scene, grabs the wallet, and takes Rossana to the most expensive club in Rome. When morning comes, he crumples his last bill and tosses it over the side of a bridge."
This film was released in Italy in 1959; running time: 105 min. It was released in Paris in Jan 1961 as Les garçons. Also known as On Any Street. Re-released in 1965 by Medallion Pictures as Bad Girls Don't Cry. English language version credited as a Miller-King production. The original production company was Ajace Cinematografica; Franco London Film. censorship self-regulation motion pictures, and sexuality sexuality foreign films, and sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality motion pictures, and foreign films foreign films foreign films, and homosexuality non-USA France France, and motion pictures motion pictures, and France La notte brava (aka On Any Street; Les garçons; Bad Girls Don't Cry) 14900 Object to Film Profanity New York Times
Dec. 13, 1910
1 The subtitle to the article, dateline Cleveland, reports that "Deaf Mute Lip Readers Say Picture Show Actors Use Vile Language." children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures motion pictures, and deaf motion pictures, and language motion pictures, and profanity Object to Film Profanity 19650 Of Extra Glands, Giant Agony And the Grey Stone Mountain [re Jack Valenti] Time
July 9, 1965
86 2 19-20 This article discusses Jack Valenti's considerable admiration for President Lyndon B. Johnson. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA addresses, Jack Valenti Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti addresses Of Extra Glands, Giant Agony And the Grey Stone Mountain [re Jack Valenti] 14010 Offensive Moving Pictures Are Barred by New Combine Chicago Daily Tribune
Dec. 15, 1907
2 This article reports on the formation of the United Film Service Protective Association of the United States. The article's subtitle reads: "Pledge to 'Cut Out' Objectionable Films Made in Manufacturers and Renters' Association." Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and Chicago Chicago, and motion pictures Offensive Moving Pictures Are Barred by New Combine 27770 Office of Film and Literature Classification (Australia) Nov. 7, 2005 http://www.oflc.gov.au See also: violence See also: sexuality This is the official website of Austrialia's Office of Film and Literature Classification. The Australians approached movie rating differently from the United States. Whereas the Classification and Ratings Administration in the United States generally avoided discussing the quality of films its rated, the Australians gave more weight to such considerations and were inclined, too, to turn to experts for advice. computers classification CARA magnetic recording censorship and ratings rating systems (non-USA) motion pictures media effects satellites videotape video games magnetic tape computers law censorship and rating system (Australia) rating system (Australia) censorship classification censorship non-USA Australia motion pictures and popular culture television rating systems, and Australia Australia, and rating systems censorship, and Australia Australia, and censorship rating systems, and harmful effects media effects, and Australia videos, and Australia Australia, and videos rating systems, and videos (Australia) videos, and Australia rating system video games, and Australian rating system rating systems, and video games computers and the Internet computers, and Australian rating system television, and Australian rating system cable, and Australia cable, and Australian rating system satellites, and Australian rating system motion pictures, and rating systems (Australia) Australia, and motion pictures Australia, and television Australia, and video games Australia, and computer rating system aeronautics and space communication cable Office of Film and Literature Classification (Australia) 27780 Office of Film and Literature Classification (New Zealand) http://www.censorship.govt.nz/censorship.html See also: violence See also: sexuality This is the official website of New Zealand's Office of Film and Literature Classification. The Australians approached movie rating differently from the United States. Whereas the Classification and Ratings Administration in the United States generally avoided discussing the quality of films its rated, the Australians gave more weight to such considerations and were inclined, too, to turn to experts for advice. computers classification self-regulation CARA magnetic recording censorship and ratings rating systems (non-USA) motion pictures media effects satellites videotape video games magnetic tape computers law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship non-USA New Zealand motion pictures and popular culture television rating systems, and New Zealand New Zealand, and rating systems censorship, and New Zealand New Zealand, and censorship rating systems, and harmful effects media effects, and New Zealand videos, and New Zealand New Zealand, and videos rating systems, and videos (New Zealand) videos, and New Zealand rating system video games, and New Zealand rating system rating systems, and video games computers and the Internet computers, and New Zealand rating system television, and New Zealand rating system cable, and New Zealand cable, and New Zealand rating system satellites, and New Zealand rating system motion pictures, and rating systems (New Zealand) New Zealand, and motion pictures New Zealand, and television New Zealand, and video games New Zealand, and computer rating system aeronautics and space communication cable Office of Film and Literature Classification (New Zealand) 29340 Office of Film and Literature Classification (New Zealand) May 20, 2010 http://www.censorship.govt.nz/censorship.html(accessed May 20, 2010) This is the official website of New Zealand's Office of Film and Literature Classification. New Zealand (and the Australians) approached movie rating differently from the United States. Whereas the Classification and Ratings Administration in the United States generally avoided discussing the quality of films its rated, in New Zealand and Australia, raters gave more weight to such considerations and were inclined, too, to turn to experts for advice. New Zealand non-USA censorship and ratings rating systems, and New Zealand New Zealand, and censorship New Zealand, and ratings censorship, and New Zealand video games, and rating New Zealand, and video games motion pictures and popular culture New Zealand, and motion pictures motion pictures, and New Zealand motion pictures video games censorship Office of Film and Literature Classification (New Zealand) 35580 Old Movie Taboos Eased in New Code for Film Industry New York Times
Dec. 12, 1956
1, 51 This articles notes that the 1956 revision of the MPAA's movie Production Code eased restriction on showing drug addition, abortion, kidnapping, and prostitution but keep the bans on "sex perversion" (i.e., homosexuality) and venereal disease. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism motion pictures, and miscegnation Old Movie Taboos Eased in New Code for Film Industry 36080 On the Beach Stanley Kramer United Artists
1959
This was one of several "runaway" films made by American producers. This powerful picture about the aftermath of an atomic war was filmed in Australia and the United States, and based on Nevil Shute's novel On the Beach (New York 1957). The movie premiered in more than 20 cities worldwide including Moscow in late December, 1959.
Plot Summary from American Film Institute Catalog: "In January 1964, the fallout from a nuclear war has obliterated life in the Northern Hemisphere and lethal clouds of irradiated dust are slowly making their way to the Southern Hemisphere, threatening the inhabitants of Australia. Dwight Towers, the captain of the American nuclear submarine U.S.S. Sawfish, which had been trolling the South Pacific during the conflict, contacts the Royal Australian Navy and is welcomed to their main harbor in Williamstown. Admiral Bridie assigns young Lt. Peter Holmes to liaison with Dwight and the Sawfish crew for a reconnaissance mission to track the deadly radiation circling the globe, which is predicted to reach Australia in five months. When Bridie admits that he has no idea how long the mission will take, Peter expresses his desire to be home with his anxious wife Mary and their infant daughter Jennifer when the fatal radiation reaches Australia. While the Sawfish is readied for the mission, Peter spends time with Mary, who insists they not discuss world events and live as if all were normal. When Peter admits that he has invited Dwight to spend the weekend with them, Mary decides to "fix him up" with the lively Moira Davidson. Moira obligingly meets Dwight at the train station and he is surprised when she provides a horse-drawn buggy to drive him to Holmes's house. That evening at a party thrown by Peter and Mary, scientist Julian Osborn drunkenly tells several guests that the war was a dreadful mistake that scientists continually warned against. Distressed by the talk, Mary demands that they must remain hopeful about the future. Later, after the party, a tipsy Moira informs Dwight that she and Julian have the reputation as the town drunks and asks him for details of how the Sawfish survived. Dwight's optimistic talk of his wife and two children and detailed plans for his son trouble Moira, because it is believed that everyone in America is dead. Continuing to drink heavily, Moira asks Dwight why Australia must linger, waiting for a slow death, then collapses, drunk. The next day, Dwight and Peter meet with a naval advisory panel that postulates the weather may have been disrupted enough by the nuclear explosions to have reduced the radiation to a potentially non-lethal level, thus sparing Australia. Bridie informs Dwight and Peter that the Sawfish will travel as far north into the Pacific as possible to take radiation readings to learn if this has occurred. That afternoon, Moira visits Dwight at the dock to apologize for her behavior the night of the party. To her surprise, Moira finds Julian on the dock and he reveals he has been asked to join the Sawfish. Bridie interrupts Moira's visit to report to Dwight that navy communications has picked up a garbled but steady telegraph message emanating from San Diego that must be investigated. Over the next few days before the mission, Dwight enjoys time with Moira, but when she questions him about his reluctance to get romantically involved with her, he explains that he has not been able to accept the deaths of his wife and children and continues to feel married. Meanwhile, Peter grows anxious at the thought of leaving Mary and Jennifer for so long and obtains suicide pills offered by the government. When he attempts to explain their use to Mary, she is horrified that he could consider killing Jennifer and refuses to listen to his appeal to be practical. Depressed by Dwight's emotional aloofness, Moira visits Julian the night before the mission and reveals that she has fallen in love with Dwight and is frightened to realize that as death looms, she is alone in an empty life. The Sawfish sets off on its mission and after several days surfaces in the northern Pacific Ocean amid icebergs. Julian takes radiation readings and reports to Dwight that the levels match those in the mid-Pacific. Realizing that this invalidates the panel's hopeful theory that Australia might somehow survive radiation poisoning, Peter confesses to Julian his anguish at knowing he will have to watch his loved ones die. Julian chastises him by pointing out that he has had the great fortune to love and be loved while others like him and Moira have wasted their lives. Days later, the Sawfish arrives in San Francisco and the officers are depressed to survey the stark, desolate streets of the city. After Yeoman Swain peers at his hometown through the periscope he flees through the escape hatch into the bay and swims to the city, declaring that he wants to die at home. Dwight waits overnight for Swain's return and then locates the sailor fishing in the bay. Via the submarine radio, Dwight asks Swain if he sure about his decision to remain alone and likely die a very unpleasant death, but the sailor reassures him that he will not suffer unduly as he has access to all of the drugstores in the city. Wishing Swain luck, Dwight orders the Sawfish to San Diego to learn the source of the continuing telegraph signals. During the journey the officers reflect on the war, but no one can recall how it began. Julian observes that mankind's path to destruction was set when they accepted that the only way to maintain peace was to amass an ever increasing supply of nuclear weapons. Upon arriving in San Diego, Dwight tracks the signal to a power plant and, dressed in an anti-radiation suit, sailor Sundstrom goes ashore to investigate. Upon exploring the plant, Sundstrom finds an empty office where a soda bottle has fallen over onto the telegraph and gotten caught in the window shade cord. The wind blowing the shade resulted in the bottle bouncing erratically on the telegraph key. Somewhat relieved by this explanation, the Sawfish turns back to Australia. Joining her father on his ranch, Moira waits for news of Dwight's return and is overjoyed when he arrives and admits he has been foolish to deny his feelings for her. A day later, Dwight dryly receives the news from Bridie that as the highest ranking surviving member of the American Navy, his embassy has promoted him to admiral. Moira then learns from Julian that he has indulged in a long-cherished fantasy of purchasing a race car, which he plans to drive in the national cup competition. When Moira observes the race is extremely dangerous, Julian admits the possibility of a quick death has occurred to him. Dwight and Moira attend the race and watch with horror as numerous drivers are killed or injured in fiery crashes, but to their amazement, Julian wins the competition. Dwight invites Moira away to a mountain retreat where he admits his love for her. As Australians begin reporting increasing signs of radiation illness, the government disperses the suicide pills. Some people turn to excessive partying while others listen with faint hope to religious messages as their end nears. Dwight asks his crew their wishes and they request to return to America to die at home. As Julian commits suicide by locking himself in his garage with his race car engine running, Dwight tells Moira that he must leave her. At their home, Mary at last apologizes to Peter for her behavior and before taking the suicide pills, the couple happily recalls their courtship and marriage. The next day, after an emotional farewell with Dwight, Moira watches the Sawfish sail away."

"Note: The following written acknowledgment appears in the opening credits: "We acknowledge with appreciation the assistance given by the Royal Australian Navy and, in particular, by the officers and men of H.M.A.S. Melbourne and H.M.S. Andrew." The film's final scene depicts an empty square in front of a government building, with a banner hung by Salvation Army representatives stating "There is Still Time...Brother." Nevil Shute's novel [H]On the Beach was serialized in LAT (25 Aug--8 Sep 1957). Although a Nov 1958 HR item stated that James Lee Bartlett was working on the script, his contribution to the released film has not been confirmed. The film was shot on location in Australia, with the racing sequence filmed at Riverside International Raceway, CA. [H]On the Beach marked the feature film debut of Donna Anderson. A 10 Feb 1959 HR item adds Lyn Peters to the cast, but her appearance in the film has not been confirmed.
"As part of the publicity campaign to emphasize the serious nature of [H]On the Beach, producer-director Stanley Kramer and United Artists arranged to stage a simultaneous world premiere on 17 Dec 1959 in more than twenty cities worldwide, including Moscow, according to the Filmfacts review. According to a 18 Dec 1959 HR item, the event marked the first time an American film had had a premiere in the Soviet Union. The same item noted that the premieres were specially sponsored in each of the cities, with the Red Cross sponsoring six locations.
"Reviews of the film, all acknowledging nuclear war as the greatest threat of the times, were mixed: the NYT reviewer called it "deeply moving...it carries a passionate conviction that man is worth saving"; while Var's review described it as "a solid theatrical film...as heavy as a leaden shroud. The spectator is left with the sick feeling that he's had a preview of Armageddon, in which all contestants lost"; Cue called it "an elaborate mixture of the tremendous and the trivial--salting a vast amount of superficial fictional vacuities with a minute dose of solid substance"; and HR enthused that the film was "brilliantly executed," but wondered at length why none of the characters showed any interest in religion as the world ends. Many reviews praised the performance of dancer Fred Astaire as "Julian Osborn" in his first solely dramatic performance. Reviews also praised the artistic quality of the cinematography by Giuseppe Rotunno.
"On the Beach received two Academy Award nominations, for Best Film Editing and Best Music (Score). In 2000 the Showtime cable network and an Australian company, Coote Hayes Productions, co-produced a three-part television miniseries of [H]On the Beach starring Armand Assante, Rachel Ward and Bryan Brown, directed by Russell Mulcahy. Unlike the feature film, the television series emphasized the graphic nature of the panic, destruction and death caused by atomic radiation."

Source citations:

Variety 2 Decorations 59, p. 6.
Motion Picture Herald Product Digest 5 Decorations 59, p. 507.
New York Times 18 Decorations 59, p. 34.
Hollywood Reporter 2 Decorations 59, p. 3.
Film Daily 2 Decorations 59, p. 10.
Daily Variety 2 Decorations 59, p. 3.
Box Office 21 Decorations 1959.
Box Office 7 Decorations 1959.
Los Angeles Times 9 Sep 1957.
New York Times 21 Sep 1958.
Variety 21 Oct 1959.
Daily Variety 30 Nov 1959.
Hollywood Reporter 18 Decorations 1959.
Cue 19 Decorations 1959.
New York Times 20 Decorations 1959.
Hollywood Reporter 14 Nov 1958, p. 4.
Hollywood Reporter 16 Jan 1959, p. 9.
Hollywood Reporter 10 Feb 1959, p. 4.
Hollywood Reporter 20 Mar 1959, p. 28.
Hollywood Reporter 27 Mar 1959, p. 2.
Filmfacts 1960, pp. 229-301. nationalism motion pictures motion pictures, and American-interest films hybrid films nationalism and communication motion pictures, and foreign markets motion pictures, and foreign policy On the Beach 35600 On the Waterfront (aka Waterfront, Crime on the Waterfront, and Bottom of the River) Elia Kazan Columbia Pictures Corp.
1954
This movie played a role in the relaxation of the Production Code on profanity (e.g., using such words as "damn" and "hell"). The film was suggested by the articles "Crime on the Waterfront" by Malcolm Johnson in The New York Sun (Nov--Dec 1948).
Plot Summary from American Film Institute Catalog: "At the request of mob boss Johnny Friendly, longshoreman Terry Malloy, a former boxer, lures fellow dock worker Joey Doyle to the roof of his tenement building, purportedly to discuss their shared hobby of pigeon racing. Believing that Friendly only intends to frighten Joey out of his threat to speak to the New York State Crime Commission, Terry is stunned to see Joey topple from the building as he and his brother, Charley "the Gent," watch from across the street. As neighbors gather around Joey's body, his distraught sister Edie accuses parish priest Father Barry of hiding behind the church and not helping the neighborhood break free from the mob's grip. Listening nearby, Terry is disturbed by Edie's indictment and later joins Charley, Friendly's lawyer and accountant, at a meeting with Friendly and his lackeys. Friendly assures Terry that Joey's death was necessary to preserve his hold on the harbor, then directs dock manager Big Mac to place Terry in the top job slot the following day. The next morning, while waiting for the day's work assignment, the dock workers offer their sympathy to Joey's father Pop, who gives Joey's jacket to Kayo Dugan. Terry is approached by Crime Commission representative Eddy Glover, but refuses to discuss Joey. Edie comes down to the docks to apologize to Father Barry, but he admits that her accusation has prompted him to become more involved in the lives of the longshoremen. Father Barry asks some of the men to meet downstairs in the church, despite being advised that Friendly does not approve of union meetings. Later, in the warehouse, Charley asks Terry to sit in on the church meeting. When Terry hesitates, Charley dismisses his brother's fears of "stooling." Despite the sparse turnout, Father Barry adamantly declares that mob control of the docks must end and demands to know about Joey's murder. Several men bristle in anger upon seeing Terry at the meeting, and Kayo tells Father Barry that no one will talk out of fear that Friendly will find out. Father Barry insists the men can fight Friendly and the mob through the courts, but the men refuse to participate. Friendly's stooges break up the meeting by hurling stones through the church windows. After Pop and Kayo are attacked outside, Father Barry presses Kayo to take action and Kayo agrees. Terry insists on walking Edie home and, on the way, she hesitatingly tells him abut her convent upbringing and ambition to teach. At home, Pop scolds Edie for walking with Terry, whom he calls a bum, and demands that she return to college. Edie responds that she must stay to find out who killed Joey. Later that day Edie is surprised to find Terry on the roof with Joey's pigeons. Terry shows her his own prize bird, then asks her if she would like to have a beer with him. At the bar, Terry tells Edie that he and Charley were placed in an orphanage after their father died, but they eventually ran away. He took up boxing and Friendly bought a percentage of him, but his career faded. Swept up among wedding party revelers, Edie and Terry dance together until they are interrupted by Glover, who serves Terry with a subpoena to the Crime Commission hearings. Edie demands to know if Friendly arranged Joey's murder, and when Terry cautions her to stop asking questions, she accuses him of still being owned by the mobster. That evening, Friendly visits Terry, who is evasive about the church meeting, then surprised when Friendly reveals that Kayo testified before the commission. Charley criticizes Terry for seeing Edie, and Friendly orders Terry back to working in the ship hold. The next day in the hold, Terry attempts to speak with Kayo, but the older man brushes him aside, calling him one of Friendly's boys. Big Mac and one of his henchmen rig a crane to slip, and a load of boxes crashes down upon Kayo, killing him in front of Terry. Outraged, Father Barry gives an impromptu eulogy for Kayo, asserting that Kayo was killed to prevent him from testifying. After two of Friendly's henchmen begin pelting the priest with fruit and vegetables, Pop and Edie arrive and watch as Father Barry ignores the abuse and exhorts the men to believe in themselves and reject mob control. Terry furiously knocks out one of the henchmen, angering Friendly and Charley. Later, Father Barry returns Joey's jacket to Pop and Edie. That night, after Edie gives Joey's jacket to Terry, the guilt-stricken Terry tries but is unable to tell her about his part in Joey's murder. The next morning Terry seeks out Father Barry to ask for guidance as he believes he is falling in love with Edie, but is conflicted about testifying and about going against Charley. Father Barry maintains that Terry must follow his conscience and challenges him to be honest with Edie. When Terry meets Edie on the beach later, he relates the details of the night of Joey's murder, insisting that he did not know Joey would be killed, but Edie rushes away in distress. Later while tending his pigeons on the roof, Terry is visited by Glover and implies that he might be willing to testify. Their meeting is reported to Friendly, who orders Charley to straighten Terry out. That night, Charley takes Terry on a cab drive and chides him for not telling him about the subpoena. When Terry attempts to explain his confusion, Charley brusquely threatens him with a gun. Hurt, Terry reproaches his older brother for not looking after him and allowing him to become a failure and a bum by involving him with the mob. Charley gives Terry the gun and says he will stall Friendly. Terry goes to see Edie, and breaks down her apartment door when she refuses to let him in and demands to know if she cares for him. Edie tells Terry to listen to his conscience, which angers him, but the two embrace. When Terry is summoned to the street, Edie begs him not to go, then follows him. After the couple is nearly run down by a truck, they find Charley's body hung up on a meat hook on a nearby fence. Taking down his brother's body, Terry vows revenge on Friendly, and sends Edie for Father Barry. Armed, Terry hunts for Friendly at his regular bar, but Father Barry convinces him that the best way to ruin Friendly is in court and Terry throws away the gun. The next day at the hearings, Terry testifies to Friendly's involvement in Joey's death, outraging the mobster, who shouts threats at him. Back at home, Terry is scorned by the neighbors for testifying and discovers that his pigeons have been killed by a boy he once coached. Edie attempts to comfort Terry, advising him to leave, but Terry insists that he has the right to stay in his town. The next day Terry reports to work as usual, but is ignored by the men and refused work by Big Mac. In his office at the pier, Friendly, who is about to be indicted, swears vengeance on Terry. Terry confronts Friendly on the pier, declaring he is nothing without guns, and the two fall into a brutal fistfight. While Friendly's men help to thrash Terry, the dockworkers watch impassively as Edie arrives with Father Barry. Friendly orders the longshoremen to begin unloading, but the men refuse and demand that Terry be allowed to work, hoping the shipping owners will witness their refusal to obey Friendly and realize their intention to restart a clean union. Father Barry urges on the beaten Terry, who rises and defiantly stumbles down the pier and into the warehouse."

"Note: The working titles of the film were Crime [H]on the Waterfront, Bottom of the River and Waterfront. The title was changed from Waterfront just before the film's release to avoid conflict with a half-hour syndicated television series of the same name that followed the adventures of a tugboat captain. Budd Schulberg based his story and screenplay on Malcolm Johnson's Pulitzer Prize-winning series of articles on longshoremen and union corruption, "Crime [H]on the Waterfront," which ran from Nov--Dec 1948 in The New York Sun. According to a modern article, he wrote about the film, Schulberg did additional research on New York and New Jersey waterfronts with longshoremen and Father John Corridan (the basis for "Father Barry") of St. Xavier's Church in Manhattan, and attended the New York Waterfront Crime Hearings, which were the basis for the script's climax.
"An Aug 1949 HR news item noted that Twentieth Century-Fox was to bid for the rights to Johnson's series, which were held by independent producer Joseph Curtis, the son of Columbia vice-president Jack Cohn. A Jan 1951 NYT article indicated that Schulberg was at the time writing a waterfront crime story for Curtis Monticello Film Corp., which Robert Siodmak was to direct. According to a NYT article, in Dec 1952, Schulberg purchased Monticello's rights to Johnson's series and to a script Monticello was working on, then tentatively titled Bottom of the River. According to a HR article, Elia Kazan agreed to direct the film by mid-Apr 1953. In his autobiography, Kazan stated that he was especially interested in the story because an earlier project on waterfront corruption, The Hook, on which he was working with playwright Arthur Miller for Columbia, fell through.
"Because Kazan was completing a film at Fox and contractually owed them another, he and Schulberg offered head of production Darryl F. Zanuck the Waterfront script. Feb 1953 correspondence between Zanuck and Kazan, which was reproduced in a collection of the producer's memos, indicates the studio's concern with the story's lengthy diatribes against union corruption. Zanuck suggested other changes in the script (which at that point included "Terry Malloy" having a young teenage son) and stressed that the story needed strong box-office appeal and powerful star personalities before the studio would commit to the production. Zanuck met with Schulberg about the script and wrote Kazan that if Marlon Brando was secured for the part of Terry, the studio could justify the budget for a top production. Brando, a member of Kazan's New York Actors Studio, had worked with him in two major productions, Warner Bros. A Streetcar Named Desire in 1951 and Twentieth Century Fox's Viva Zapata! in 1952 (see below). A May 1953 DV item reports that writer-photographer Sam Shaw filed suit for $60,000 against Twentieth Century-Fox and Schulberg, claiming he had served as a "go-between" in the story purchase and assisted in scripting. The outcome of the suit has not been determined.
"Kazan stated in his autobiography that Zanuck eventually turned down the film because it was to be shot in black and white, in standard format, not in the new CinemaScope format used extensively at Fox since its introduction in 1953. Zanuck admitted in a Jul 1954 letter to Kazan that "CinemaScope was responsible...for my decision against the property...We had committed ourselves to a program of spectacles." In various contemporary and modern articles and interviews about the development and production of [H]On the Waterfront, Schulberg stated that after Zanuck's rejection, Warner Bros., M-G-M, Universal and Columbia all deemed the script too controversial and turned it down.
"In mid-1953, independent producer Sam Spiegel agreed to take over production and arranged distribution through United Artists. In Sep 1953, according to various news items, interviews and autobiographies of Kazan and Schulberg, Frank Sinatra, a native of Hoboken, NJ, where much of the film was to be shot, was approached to play Terry. Sinatra met with Kazan to discuss the role, at the same time that Spiegel was in discussions with Brando. Kazan stated that Brando returned the script twice without reading it and that Spiegel claimed to be having difficulty convincing Brando to work with Kazan because the actor objected to the director's testimony before the House Committee on Un-American Activities in 1952. Kazan's autobiography indicates that Spiegel advised Kazan that Brando would raise more money than Sinatra, whose comeback film, Columbia's From Here to Eternity (see above) had just been released and Sinatra was officially dropped from consideration.
"A modern Brando biography indicates that before the actor committed to the film, Kazan considered casting Actor's Studio alumnus Paul Newman, who at that time had not yet made a film but in Feb 1953 had caused a sensation on Broadway when he opened in Josh Logan's Picnic. Kazan cast the film primarily with members of The Actor's Studio, which he co-founded in the late 1940s. In addition to Brando, other members of the Actor's Studio cast included Karl Malden, Rod Steiger and Lee J. Cobb. The picture marked the motion picture debut of Eva Marie Saint, who was hired just before the start of production and had until then worked only on stage and television. The film also marked the debut of character actor Martin Balsam. Kazan also hired former prizefighters "Two-Ton" Tony Galento, Abe Simon and Tami Mauriello to play mob figures working for "Johnny Friendly." Leonard Bernstein agreed to score the film after viewing a rough-cut with Kazan and Brando. It was Bernstein's only film score.
"In his autobiography, Kazan claimed that during the entire location shooting on the Hoboken docks, he had a bodyguard on-set out of concern that union members might be apprehensive that the film debased their profession. Kazan noted that many longshoremen were used as extras, thus adding credibility to the scenes. A Nov 1953 NYT article also indicates that a young local teen, John McComb, was signed during filming but his participation in the final film has not been confirmed. Modern sources add Eddie Barr as prop man and Roger Donoghue as technical advisor.
"In later years, Kazan repeatedly praised Brando for his spontaneity during filming which he felt elicited great empathy for the role of the conflicted Terry. Brando also delivered one of the most quoted lines in Hollywood history, in the "taxicab scene" in which Terry tells his brother that if "Charley" had not sold him out: "I could'a had class, I could'a been a contender, I could'a been somebody." Kazan praised Brando for insisting on adding Terry's saddened motioning away of Charley's gun before delivering the speech, something the director thought added a richer dimension of poignancy. Brando states in his autobiography that he was so distressed by what he considered a poor performance on his part, that he departed a preview screening without comment. Kazan also frequently compared Terry's action to his own decision to testify before the House Committee on Un-American Activities.
"According to information contained in the file on the film in the MPAA/PCA Collection at the AMPAS Library, after reading the script, PCA officials became concerned about the level of violence contained in the film. As a result, the scenes of Terry's beating were reduced substantially. In Apr 1954 the MPAA Board of Directors met to discuss the controversy surrounding Terry twice telling Father Barry "go to hell." In earlier correspondence between PCA head Joseph I. Breen and the MPAA New York head Eric Johnston, Breen wrote: "The expression "Go to Hell" is not used in a casual manner, as a vulgarism, or flippant profanity. It is used seriously and with intrinsic validity..." The Board of Directors approved the phrase, which caused some protest from other studios whose similar requests had been denied.
"A HR Nov 1953 item disclosed that days before [H]On the Waterfront was to begin shooting, UA and Spiegel parted ways over casting and budget disputes and the producer finalized a distribution deal with Columbia. The film marked the first time Spiegel used his own name onscreen rather than "S. P. Eagle." The picture opened to high critical and public praise after its Jul 1954 New York City premiere at the Astor Theater. The HR review stated: "This brutal, violently realistic drama set against the sordid background of the New York waterfront, packs a terrific wallop that results in topflight entertainment....The story is as fresh and terrifying as today's newspaper.... Marlon Brando... delivers a performance that grabs your heart in a calloused fist and never lets go." DV described Brando's performance as "a spectacular show." NYT called the film "an uncommonly powerful, exciting and imaginative use of the screen by gifted professionals" and Brando's performance "a shatteringly poignant portrait... beautiful and moving.."
"In Apr 1955, after [H]On the Waterfront's successful release and numerous critical accolades, Sinatra filed a breach of contract suit against Spiegel and Horizon-American Corp. for $500,000 for his failure to be cast as Terry. Spiegel and the co-defendants claimed there was never any written deal with Sinatra, only an oral agreement. The outcome of the suit has not been determined. In Dec 1954 Anthony De Vincinzo, who Schulberg admitted was one of the many longshoremen with whom he consulted while researching the story, sued Spiegel and Columbia for $1,000,000, claiming that his rights of privacy had been invaded. The suit charged that details of De Vincinzo's life were used in the creation of Terry including his boxing past, his work as a Hoboken longshoreman and his enthusiasm for pigeons without his consent. The suit was settled out of court for $25,000 in Jun 1956.
"The film won Academy Awards for Best Picture, Best Actor (Marlon Brando), Best Supporting Actress (Eva Marie Saint), Best Direction, Best Writing, Best Art Direction (b&w), Best Cinematography (b&w) and Best Editing. The film also received three nominations for Best Supporting Actor (Lee J. Cobb, Karl Malden and Rod Steiger) and a nomination for Best Music. Two months after the Academy Award presentation, in May 1955, Monticello Film Corp. demanded that the Academy take back Budd Schulberg's writing award. According to a HR item, Monticello had filed suit in Oct 1954 against Schulberg, Kazan, Spiegel, Horizon-American Pictures (Spiegel's company), Columbia and Malcolm Johnson, claiming that Schulberg was under their employ when he dramatized Johnson's series. The outcome of the suit has not been determined but the award remained with Schulberg. In 1998, the American Film Institute voted On the Waterfront as one of the top ten best films of the first hundred years of cinema."

Source citations:

Variety 14 Jul 54, p. 6.
New York Times 29 Jul 54, p. 18.
Motion Picture Herald Product Digest 17 Jul 54, p. 65.
Hollywood Reporter 14 Jul 54, p. 3.
Film Daily 14 Jul 54, p. 8.
Box Office 24 Jul 1954.
Daily Variety 14 Jul 54, p. 3.
Hollywood Reporter 16 Apr 1953, p. 1.
Hollywood Reporter 30 Apr 1954, p. 4.
Hollywood Reporter 9 Aug 1949.
New York Times 1 Jan 1951.
New York Times 29 Decorations 1952.
Hollywood Reporter 18 May 1953, p. 2.
Daily Variety 18 May 1953.
New York Times 22 Nov 1953.
Hollywood Reporter 23 Nov 1953.
Variety 25 Nov 1953.
Daily Variety 3 Decorations 1953.
New York Times 23 May 1954.
Hollywood Reporter 19 Oct 1954, p. 4.
Daily Variety 22 Decorations 1954.
Los Angeles Examiner 4 Apr 1955.
Variety 27 Apr 1955.
Hollywood Reporter 26 Apr 1956.
Daily Variety 29 Jun 1956.
Hollywood Reporter 27 Nov 1953, p. 12.
Hollywood Reporter 22 Jan 1954, p. 9.
Variety 25 Jan 1999.
Life 19 Jul 1954.
Hollywood Reporter 27 Jan 1954, p. 6
G. Q. Oct 1994. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism motion pictures, and miscegnation Kazan, Elia Production Code, and Elia Kazan On the Waterfront (aka Waterfront, Crime on the Waterfront, and Bottom of the River) 2230 The Open Mind [taped guest interviews] Richard Heffner headed the motion picture industry's Classification and Rating Administration from 1974 to 1994. But starting in May, 1956, he hosted a television program in New York called "The Open Mind," which ran off and on into the twenty-first century. Most of this collection pertains to "The Open Mind" shows done during the 1980s and 1990s (e.g., Neil Postman and others). There are a few from the 1970s (stored apprently in New Jersey). There apparently is not much for the earliest program done in the 1950s and 1960s. These interviews can be seen at the Museum of Television and Radio, 25 West 52d Street, New York, NY. Classification and Rating Administration CARA Classification and Rating Administration (CARA) television, and values values community democracy television motion pictures and popular culture motion pictures Heffner, Richard, and The Open Mind Heffner, Richard, and television CARA, and Richard Heffner Heffner, Richard, and CARA democracy, and television television, and democracy values, and television critics values Heffner, Richard CARA The Open Mind [taped guest interviews] 17180 Oracle (San Francisco)
1960s
The San Francisco Oracle was an underground newspaper during the 1960s, one that, like other underground papers, used relatively inexpensive printing technology and made innovative use of color. underground films underground media underground cinema news and journalism color color underground newspapers Oracle (San Francisco) 39220 Originality the Crying Need of the Photodrama as Münsterberg See It Current Opinion
April 1917
62 4 258 Quoting Hugo Münsterberg regarding his apprehensions about the photoplay: "'It is not the dangerous knowledge which must be avoided, but it is the trivializing influence of a steady contact with things which are not worth knowing.'" Münsterberg also is quoted to the effect that simply punishing the villain at the end of the film may not be enough to prevent the film from having a harmful moral influence. "'Certainly it is not enough to have the villain punished in the last few pictures of the reel. If scenes of vice or crime are shown with all their lure and glamor the moral devastation of such a suggestive show is not undone by the appended social reaction. The misguided boys or girls feels sure that they would be successful enough not to be trapped.... The true moral influence must come from the positive influence of the play itself.'" (Münsterberg quoted) Münsterberg, Hugo Munsterberg, Hugo censorship censorship motion pictures motion pictures, and new art form motion pictures, and psychology Münsterberg, Hugo motion pictures, and Hugo Münsterberg critics critics, and motion pictures censorship and ratings censorship, and crime Münsterberg, Hugo, and censorship motion pictures, and morality motion pictures, and censorship censorship, and motion pictures media effects media effects, and motion pictures motion pictures, and media effects media effects, and Hugo Münsterberg Münsterberg, Hugo, and media effects Originality the Crying Need of the Photodrama as Münsterberg See It 36460 Oscar Wilde Gregory Ratoff Great Britain Vantage Films (Great Britain) This film, which starred Robert Morley, dealt with the trial that led to Oscar Wilde's downfall. This British film played in New York City in the summer, 1960, even though the theme of homosexuality was forbidden at the time by the U. S. movie industry's Production Code. censorship self-regulation motion pictures, and sexuality sexuality foreign films, and sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality motion pictures, and foreign films foreign films, and homosexuality non-USA Great Britain Great Britain, and motion pictures motion pictures, and Great Britain Wilde, Oscar foreign films Oscar Wilde 2240 Otto Preminger Papers, 1948-1972
1948-1972
13 boxes While this collection does have information pertaining to a few Otto Preminger films, for those looking for information about his movie The Moon Is Blue (1953), which played an important part in the demise of the motion picture industry's Production Code, will be disappointed. These Papers are at the Wisconsin Historical Society, Madison. self-regulation Production Code values censorship and ratings Production Code (motion pictures) archives values religion archives motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and Production Code (motion pictures) Production Code, and Moon Is Blue Production Code, and Otto Preminger Otto Preminger Papers, 1948-1972 1080 Our Geraldine Is Home Again from Movie Land New York Times
Aug. 22, 1915
X 4 Performer Geraldine [Farrar] comments on differences between live opera acting and film acting; projecting personality; how the gramophone and movies reach many more people that live stage. “‘I have done now,’ Miss Farrar answered, ‘what I have always wanted to do but could not because of the limitations of the operatic stage. To me the acting of a role has always appealed more strongly than the singing, but in opera one must use repression, and indicate while singing a few bars all the play of emotions that one may have a whole scene for in the photo drama. When ‘Carmen’ was produced at the Metropolitan there were things I wanted to do that were physically impossible on the operatic stage, so my Carmen was much like all the others. When you see my Carmen of the picture you will see my real Carmen, and some day I am gong to liven things up a bit at the opera.
“‘Opera in America is for the very limited public, the public that can pay $6 for orchestra seats. The graphophone reaches a much larger public, and through it my voice has been carried to thousands who will never hear me sing. But the movies reach the millions, and so I have added a vast new public to the restricted one I had before. All of these millions can appreciate to a greater or less degree whatever art I have recorded for the screen; many of them probably could not appreciate my singing. For the eye registers more universally than the ear.’
“‘Would you advise other prima donnas to go in for movies?’
“'If the have the face and the figure, yes. The screen more surely than the operatic stage is for the artiste while she has youth and beauty and vitality. I have proved what I have always contended, that it is personality that counts whether in ‘Carmen’ on the screen or ‘Carmen’ on the stage.’”
 theater stage history fame fame celebrity actors acting actors acting motion pictures theater and stage motion pictures, and stage stage, and motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, silent motion pictures, and oratory fame celebrity culture motion pictures, and fame motion pictures, and celebrity motion pictures, and stage actors celebrity, and motion pictures fame, and motion pictures status of actors actors, and status of personality motion pictures, and personality personality, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures graphophone sound recording, and graphophone motion pictures, and opera Our Geraldine Is Home Again from Movie Land 39210 Our Pampered Artists The Independent
Dec. 25, 1916
88 3551 515 This article comments on the changing relationship between the actor and the drama or play. "In the elder days of art it was the custom to admire the work and ignore the artist. Nowadays we admire the artist and ignore his work.... It is like a banquet where the toastmaster takes up all the time by his introduction of the speakers." Los Angeles actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences motion pictures, and actors actors, and status of actors, and movie stars origins movie stars origins Our Pampered Artists 39000 Over-Illustration Harper's Weekly
July 29, 1911
55 2849 8 This article, which appeared in a magazine that was one of the early users of illustration, deplores the over use of pictures. "We can scarce get the sense of what we read for the pictures," it says, "we can't see the ideas for the illustrations. Our world is simply flooded with them. They lurk in almost every form of printed matter; they assault from the bill-boards, from the innocent and useful fences and necessary barn roofs; they are part and parcel of every kind of advertisement.... And these pervasive pictures run an extraordinary and comprehensive gamut, from the atrocious and villainous, through many degrees of commonness and mediocrity, up through various stages of good and better, to the really excellent, to the noble and the best."
The images in the Sunday newspapers come in for criticism. "But it is more than a far cry, it is an incalculable distance, from the beauty and perfection of kindred arts and kindred minds, to the pictorial squalor, say, of the Sunday newspapers, of which the 'Funny Page' is the dearest monstrosity ever foisted upon a patient and long-suffering public. For young and undeveloped minds and eyes to come into frequent, to say nothing of constant, contact with this sorry stuff, with its wretched coloring and worse than wretched subjects, is simply to sow the place of taste with salt, and to make any later and lovely growth utterly impossible."
More than the quality and more than the sheer volume of pictures posed a problem, according to this editorial. The images could curtail thinking. "But it is not the quantity and quality of to-day's illustrations that may be questioned so much as illustration itself. For even if it were far better than it is, and were more sparingly and effectively used, it would still be of doubtful value. 'You're not seeing that with the eye only,' remarked a scientific man once in the course of conversation, 'but with the eye aided by the brain -- the eye plus the power of visualization.' And he was right! 'All original thought is done in images,' said [Jacob] Molescott: and it therefore become of prime importance not to pre-empt the growing and developing mind by poor, tawdry, and irrelevant pictures. Illustration, rightly used, is a fine mental stimulant; but improperly and over used it becomes simply a mental drug. And it would be safe to say that a young mind, overfed pictorially, will scarcely be likely to do any original thinking. ...To see and not perceive, to give the effects of certain forms of illustration, which are apt to stunt, if they do not kill, the imagination. Indeed, one may often gauge the range and quality of a child's apprehension and imagination by its independence of the pictured page." Unfortunately, only "rarely does an illustration lift and really illumine its subject."
The article draws a parallel between acting and illustrating when it says that "there is close analogy between the art of acting and that of illustration."
There is an important difference between the written text and the illustration. "Compare the average text with the average illustration, and the reflective person will see why illustration may prove detrimental, why it may preclude thought and prevent visualization. To try to image forth for one's self, to become conversant with, and ready in, apt illustrations of a subject, whether they be of picture, symbol, metaphor, or simile, is all part of thinking. And thinking is a living process, both a science and an art: it is the athletics of the mind. Not only are pictures that corrupt the mind to be avoided, but all such as do not actually aid in this process of thinking are reprehensible and enfeebling to the mind."
The editorial concludes by giving examples of illustrations "that call upon the highest faculties of the mind" and says they are "a far cry from the modern illustrator who harshly and superficially reads the matter submitted to him, and then makes a picture bearing little or no relation to the subject." wood engraving Sunday newspapers journalism illustrations decadence words vs. images magazines, and photography images vs. words magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines illustrations, and newspapers illustrations, and magazines magazines, and illustrations newspapers, and illustration images vs. print advertising and public relations advertising, and newspapers newspapers, and advertising magazines, and advertising advertising, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving magazines, and illustrations Sunday newspapers, and illustrations illustrations, and Sunday newspaper photography, and Sunday newspapers color color, and Sunday newspapers Sunday newspapers, and color color, and values values, and color children and media Sunday newspapers, and children children, and Sunday newspapers media effects media effects, and Sunday newspapers Sunday newspapers, and media effects modernity modernity, and illustrations illustrations, and modernity color, and decadence decadence, and color decadence, and Sunday newspapers Sunday newspapers, and decadence words vs. images advertising children values Over-Illustration 35260 Overseas Information Programs of the United States, Part 2 Hearings before a Subcommittee of the Committee on Foreign Relations, United States Senate, Eighty-Third Congress, First Session March 6, 9, 11, 12, 13, 16, 18, 23, 24, 25, 26, 27, 30, 31; April 1, 20, 22, 23, 24, 27; May 11, 12, 13, 1953 (Washington, D. C.: U. S. Government Printing Office, 1953) These hearings investigated a wide range of media including motion pictures, radio, television, books, and more. In includes the March 6, 1953, testimony and statement of Eric Johnston, president of the Motion Picture Association of America. nationalism motion pictures motion pictures, and foreign policy motion pictures, and independent producers motion pictures, and foreign film motion pictures, and American-interest films CinemaScope VistaVision motion pictures, and CinemaScope censorship and ratings military communication motion pictures, and military motion pictures, and military censorship motion pictures, and foreign markets nationalism and communication motion pictures, and nationalism propaganda motion pictures, and Cold War Cold War books, periodicals, newspapers television radio propaganda, and television propaganda, and motion pictures propaganda, and radio propaganda, and libraries television, and propaganda motion pictures, and propaganda radio, and propaganda Johnston, Eric war Overseas Information Programs of the United States, Part 2 14850 Owe Life Wreck to Dance Hall Chicago Daily Tribune
Jan. 21, 1905
14 The subtitle of this articles reads: "Six Young Girls in Juvenile Court, Tell Stages in Downward Path. Blame Penny Arcades. Judge Mack Promises Gaston Thely All the Punishment Law Will Allow." children Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and crime Chicago, and motion pictures motion pictures, and Chicago Owe Life Wreck to Dance Hall 14240 Panic in Five Cent Theater Chicago Daily Tribune
Dec. 26, 1908
1 This subtitle of this article reads: "Man Burned and People Terrified on Eve of Crusade. Must Take Out Licenses. Mayor Busse Determined to Enforce the Ordinances at Once." children Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire hazards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters electricity, as fire hazard audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and Chicago Chicago, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology Panic in Five Cent Theater 14250 Panic Narrowly Averted New York Times
Feb. 27, 1900
1 This is a report on the fire dangers posed by moving picture theaters. The article's subtitle reads: "Electric Spark Sets Fire to Picture Films and Causes Scare in an Up-Town Theatre." children motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire hazards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire hazard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children media effects children, and media effects media effects, and children electricity, as fire hazard Panic Narrowly Averted 19170 Paris Adult Theatre I v. Slaton. 413 U. S. 49 (1973) 1973 In Paris Adult Theatre I v. Slaton, a case decided the same day as Miller v. California, the U. S. Supreme Court upheld (again 5 to 4) the right of states to prevent the showing of hard-core pornographic films in adult theaters even though the owner had limited the audience to consenting adults. The case, which originated in Georgia, involved two allegedly obscene movies. A trial court had thrown out the complaints on grounds that the theater had restricted minors and that exhibiting the films to consenting adults was permissible under the constitution. The Georgia Supreme Court reversed this decision. Using Miller, the United States Supreme Court upheld the Georgia high court, holding that even though “conclusive proof is lacking,” states could conclude that “a nexus does or might exist between antisocial behavior and obscene material....” Moreover, the United States Supreme Court said that showing obscene matter in a public place was “not protected by any constitutional doctrine of privacy.” Whatever right to privacy that an adult might have at home did not extend to a commercial theater. Nor was everything shown to consenting adults constitutionally protected; Georgia’s obscenity laws and their relation to the First Amendment could therefore be reinterpreted in light of the standards set out in the Miller case. U. S. Supreme Court audiences Miller v. California Supreme Court (U. S.) values archives sexuality obscenity values community law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases motion pictures, and freedom Miller case court cases, and Miller obscenity, and Supreme Court (U. S.), and Memoirs case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Paris Theater case censorship, and states censorship, and scommunity standards community standards, and censorship pornography pornography, and Paris Theater case Paris Theater case, and pornography pornography, and community standards, theaters theaters (adult), and Supreme Court (U. S.) Supreme Court (U. S.), and adult theaters theaters Paris Adult Theatre I v. Slaton. 42170 The Passing of the Wood Engraver New York Times
April 23, 1895
4 "With the advent of the half-tone reproduction, engraving on wood bids fair soon to become a lost art," this article says. However much such developments were “to be regretted,” the New York Times said in 1895, the fact remained that “the future of the engraver on wood offers little promise and few possibilities; the spirit of the age is against him; the photograph brought under intelligent control and utilized by chemicals has usurped his place.” wood engraving journalism magazines, and photography magazines photography electricity home and new media electricity, and newspapers electricity, and books newspapers, and electricity magazines, and electricity photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and Daily Graphic photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving home The Passing of the Wood Engraver 22140 Penthouse
1970s-1990s
Penthouse, together with Playboy, was a magazine that exploited such technology as color photography in its nude photographs of women. During the mid-1980s, the magazine became a target for Meese Commission and anti-pornography crusades. corporations morality magazines corporations sexuality pornography sexuality Penthouse obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity, Meese Commission anti-pornography crusade Curtis Circulation Company K-Mart Wal-Mart Penthouse and circulation decline Moral Majority 23780 Penthouse Fights Moral Majority Financial Times (London)
April 21, 1986
24 This article deals with Penthouse's efforts to counter anti-pornography boycotts that had targeted the magazine. morality sexuality sexuality First Amendment freedom boycotts pornography Penthouse First Amendment, and pornography pornography, and First Amendment Penthouse, and First Amendment First Amendment, and Penthouse Moral Majority pornography, and opponents boycotts, and pornography boycotts, and Penthouse Falwell, Jerry, and pornography law Penthouse Fights Moral Majority 14020 People Like Crime Shows Chicago Daily Tribune
Dec. 1, 1907
A 8 With regard to crime shows, this article says: “Nothing is more popular on the stage than crime and criminals if one may judge by the titles of the plays that are being presented throughout the country. A Lawyer can hardly find any kind of a law that is not broken every night on the stage, and as often as otherwise the criminal is applauded and becomes the hero before the last curtain drops.
“Sometimes the criminal hero reforms, and sometimes he proves himself innocent, but the managers have proven the public sympathy for the wrongdoer so often that most any kind of crime play seems to have a good chance for success.” A list of play titles follows including “James Brothers in Missouri.” theater stage Chicago, IL censorship censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and crime motion pictures, and crime motion pictures audiences motion pictures, and crime audiences, and crime violence motion pictures, and violence violence, and motion pictures motion pictures, and Chicago Chicago, and motion pictures censorship, and theater theater and stage motion pictures, and stage stage, and motion pictures People Like Crime Shows 37790 People Who Buy Photos Los Angeles Times
July 16, 1895
3 This article talks about who buys photographs and its subtitle reads: "Artists, Architects and Educators Among the Best Customers." The article notes that recent advances in photography have greatly changed the nature of businesses that sell pictures. "The development of photography in the last few years has had the effect of changing entirely the character of the shops in which photographs are sold, and these have become as interesting in many respects as the art stores and studios, says the New York Sun. Every dealer in photographs who is up to the times considers it necessary to have a room set apart for his regular customers. The casual customer, who merely wishes to buy a photograph or two, does not see this at all; but the collectors, students, artists, architects and others who seek photographs to complete collections, or for assistance in work they have in hand, find this special room a great convenience. It is fitted as a combination studio and library; is as free from disturbance as possible, and does not look at all like a shop."
Quoting a leading dealer: "'The patrons of my shop may be divided into two classes -- those who purchase foreign photographs and prints, as well as domestic productions, for educational or practical use, and those who collect for purely personal pleasure. The former far outnumber the latter. The magazines and daily newspapers are probably the largest purchasers. [emphasis added] The come the colleges, museums and other educational institutions. The college professors are among our best customers....
"'...There are so many new photographs on special subjects, both foreign and domestic, placed on the market constantly, that those who want them all must be continually looking for them. They do not know what they want until they do look, and cannot rely entirely upon the discretion of a dealer to select them for them.'" wood engraving journalism journalism magazines, and photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving education education, and photography photography, and education actors acting magazines motion pictures photography People Who Buy Photos 15740 Phonograph to Give Wilson To All of Us New York Times
Aug. 9, 1912
1 This article reports that Woodrow Wilson will use the phonograph and moving pictures. He send out phonograph of a speech (with things edited and added from the original) along with moving pictures taken of him. The subtitle of the article reads: "Planned to Let Nation Hear Him as the Moving Pictures Show Him in Action; Sits for Portrait Here." politics journalism history history photography motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures presidents and new media Wilson, Woodrow motion pictures, and Woodrow Wilson sound recording, and Woodrow Wilson Wilson, Woodrow, and sound recording Wilson, Woodrow, and motion pictures photography and visual communication photography, and Woodrow Wilson Wilson, Woodrow, and photography phonograph Wilson, Woodrow, and phonograph phonograph, and Woodrow Wilson history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation presidents and new media Wilson, Woodrow and new media news and journalism motion pictures, and journalism journalism, and motion pictures politicians, and new media phonograph, and history history, and phonograph Phonograph to Give Wilson To All of Us 42000 Photo-Cinematograph Apparatus The Independent
Sept. 4, 1913
75 3379 584-85 This article begins with the snide remark that the title "is the Greek for it. In vulgar American it is 'the talky movies.' But whatever we call it it is not yet altogether satisfactory." (584) The words and pictures are still unsynchronized. The article also reports that efforts to produce color films is less than perfect. Too often “the maiden’s blush extends over the foliage in the background.” (584) motion pictures color sound technology motion pictures, and color motion pictures, and sound technology color, and motion pictures sound technology, and motion pictures phonograph, and motion pictures motion pictures, and phonograph sound technology, and phonograph phonograph Photo-Cinematograph Apparatus 13180 Photographic War History New York Times
March 7, 1899
8 This article notes that government offices have been asked to contribute prints, films, or negatives. The article's subtitle reads: "Government Proposes to Issue the Works Asks for Contributions." history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation celluloid materials, and celluloid historical preservation, and celluloid celluloid, and historical preservation Photographic War History 15070 Photographing in All Colors. An Alleged Remarkable Discovery by a Parisian Scientist Chicago Daily Tribune
Feb. 22, 1891
6 This article discusses M. Lippmann (a professor of physics at the Sorbonne) and his process for color photography. Lippmann process photography Lippmann process, and color photography photography and visual communication photography, and color color, and photography color photography, and Lippmann process color, and Lippmann process non-USA France France, and color photography photography, and France non-USA, and color photography Photographing in All Colors. An Alleged Remarkable Discovery by a Parisian Scientist 15050 Photographing in Colors Chicago Daily Tribune
May 26, 1888
2 “The latest invention in photography is the discovery of a process by which colors as well as objects may be photographed. By the use of several plates instead of one, three negatives are taken on plates specially prepared….” photography photography and visual communication photography, and color color, and photography color Photographing in Colors 39640 Photographs and Pictures Living Age
May 22, 1909
261 3385 503-05 This article considers how photography and compete with paintings and drawings in producing portraits. It says that "the complete imitation of reality is possible in a picture and, except for the absence of color, is achieved as a matter of course in a photograph." (503) Yet, the photograph often fails to capture the personality of the one be pictured. "The very impartiality of the camera lead it into error, since it has to represent in monochrome two different classes of fact -- namely, facts of color and facts of light and shade; and these facts, produced in reality by the action of light, cannot in any pictorial imitation of reality be both exactly and fully represented." (503) The black and white photo often misrepresents color and also light and shade.
If a portrait painter is seeking primarily to "represent character, he will probably find that form is more essential to his subject than color, and he will therefore subordinate color to exact definition." (504)
Even color photography, when it become easily used, will not allow the photo to compete with a good portrait. "Thus it is clear that a photograph cannot in any way compete with a fine portrait, and it will be able to compete even when color photography becomes as perfect as it can be...." (505) fame celebrity celebrity culture celebrity, and photography personality personality, and photography photography, and personality fame, and photography photography, and fame photography, and stars photography and visual communication photography, and celebrity culture personality, and magnetism fame, and magnetism color color, and personality personality, and color photography, and portraits personality, and portraits photography, and reality fame photography Photographs and Pictures 270 Photographs by Telegraph Youth's Companion
Dec. 12, 1912
86 50 690 This article notes that "in France the transmission of photographs over a telegraph-wire is now practical for newspaper work, and pictures sent in this way appear in the Paris papers. L'illustration is taking the lead, and one station is installed at its Paris office and another at Monte Carlo. " The article then quotes from an article in the Scientific American that describes this process. photography telegraph photography and visual communication telegraph, and photography photography, and telegraph news and journalism photography, and newspapers newspapers, and photography non-USA France France, and photography photography, and France (youth) Photographs by Telegraph 15610 Photographs by Telegraph: Television Next? New York Times
Nov. 24, 1907
SM 7 This article talks about sending a photograph of King Edward from England to Paris by telegraph and asks, “If Pictures Can be Flashed by Wire from One Country to Another, Why Not Transfer Views in the Same Way?" The article's subtitle reads: "Successful Test of Prof. Korn’s Remarkable Invention Indicates the Possibility of Another Field for Scientific Discoverer." post office journalism future magazines, and photography facsimile magazines photography electricity electricity, and photography photography, and electricity photography and visual communication motion pictures electricity, and motion pictures motion pictures, and electricity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines television telegraph photography and visual communication telegraph, and photography photography, and telegraph future and science fiction telephotography Korn, Arthur, and telephotography seeing at a distance modernity modernity, and photography photography, and modernity television television, and origins future and science fiction non-USA France France, and photography photography, and France Great Britain Great Britain, and photography photography, and Great Britain non-USA Germany Germany, and photography by wire Germany, and telegraph telegraph, and Germany facsimile, and telegraph telegraph, and facsimile duplicating technologies postal service postal service, and facsimile facsimile, and postal service postal service, and telegraph telegraph, and postal service Photographs by Telegraph: Television Next? 14700 Photographs of Moving Picture Actors. A New Method of Lobby Advertising Moving Picture World
Jan. 15, 1910
6 2 50 At a time when many actors were reluctant to have their photographs shown in connection with moving pictures, this article suggest that attitudes about movie actors and photography was changing. The article reports that “Numerous have been the requests from exhibitors for photographs of the principal actors in the films. These requests have been showered on all the leading manufacturers and The Moving Picture World by exhibitors who desired the photographs for lobby display. For various reasons the manufacturers have held aloof from this form of advertising, but the Kalem Company has solved the problem by preparing a handsome lobby display of the members of their stock company, which they advertise in this week’s Moving Picture World. It is to be hoped that sufficient exhibitors will avail themselves of the offer to enable the Kalem Company to furnish these frames at the exceedingly low price advertised.
“Managers of picture theaters and nickelodeons all over the country are making repeated urgent requests upon the producers of moving picture subjects for photographs of the principal actresses and actors taking part in them. Heretofore requests of this character have come from love-smitten patrons of the places. The managers of the places now see a big advertising advantage in the display of such photographs in the lobbies of their theaters. …It is conceded that all good products in the advertising line should receive hearty support from all quarters, but the people who play the parts in the pictures see the matter in a different light, and for that reason the work of transforming the lobbies of the picture places into photograph galleries is progressing very tardily. It is a matter of delicate sentiment with the actors and actresses. While the pictures have attained a distinct prominence in the theatrical field and are now recognized as a standard attraction, the people playing the parts in them are very sensitive about having their identity become known…. These people are only too glad to play the parts and do their work with the same zeal exercised in regular theatrical productions, but all of them try to shield their identity.” The use their voices on stage but have to work in pantomime in movies. The article says that “pantomimic work makes the people playing the parts feel that their artistic reputations would suffer should it became known that they were playing parts in moving picture studios….” fame celebrity actors acting photography motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality photography, and movie stars advertising and public relations advertising, and motion pictures motion pictures, and advertising actors, and status of advertising, and movie actors theaters theaters, and photography photography, and theaters advertising Photographs of Moving Picture Actors. A New Method of Lobby Advertising 15100 Photography in Colors at Last Chicago Daily Tribune
June 26, 1896
6 “It is at last announced in an authoritative manner that photography in colors is an assured fact,” the Tribune reports. It then discusses a patent held by James D. McDonough of Chicago. photography photography and visual communication photography, and color color, and photography color Photography in Colors at Last 13630 Photography Under Difficulties New York Times
April 2, 1914
10 This article notes that reports from photographers about capturing real scenes of combat are vastly inflated and are but “advance notices” printed for free “as straight reading matter” “We have been credibly informed that movie men have been permitted by Gen. Villa for a consideration, of course to accompany him into as much of danger as they have inclination to encounter, and the exultant reports given out as coming from these representatives of the greatest and most enterprising of new industries are just about what they would be expected to send.
“Skepticism whispers to credulity, however, that only by the luckiest and rarest of chances would a movie man be confronted at convenient distance in real war with a scene that would show up well in a picture, while highly impressive battles could be produced by the adroit manipulation of properly clothed actors in front of skillfully designed backgrounds. Between nature and art the comparison is so often in favor of the latter nowadays that the former can hardly be credited with holding its own and still less with the catching up of the Whistlerian legend.
“If only these telegrams from the photographers were not such good ‘advance notices’ all printed free and as straight reading matter, too! confidence in their veracity would be easier. Still, faith is not impossible. The fact that this sort of photography would be dangerous counts for nothing. Fortunately for the welfare and preservation of the human race, a good many of its members like danger and enjoy taking risks, especially when both glory and money can be won by doing it.
“So whoever will may doubt that we are soon to see moving pictures taken in the intrenchments [sic] and streets of Torreon while the most desperate fighting of recent years was going on. The probabilities are, however, that we shall do just that and a fine argument against war they ought to be if they bear out the hideous stories of wholesale slaughter coming from that dreadful city.” history photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing history and new media motion pictures, and history history, and motion pictures war war, and motion pictures motion pictures, and war military communication military communication, and motion pictures cameras, portable war, and cameras cameras, and war motion pictures, and live war action cameras, and live war action photography and visual communication photography, and war war, and photography war, and Francisco Villa cameras Photography Under Difficulties 1060 The Photoplay: It Has Achieved a Distinct Technique and Appeal to the Public New York Times
May 1, 1911
10 This was a letter to the Editor of the New York Times from the Entertainment Director, the Educational Alliance. motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures audiences audiences, and motion pictures motion pictures, and audiences The Photoplay: It Has Achieved a Distinct Technique and Appeal to the Public 6660 Physicists Discuss Photo-Electric Cell New York Times
Feb. 23, 1930
21 This article discusses research related to talking films and television. The article's subtitle reads: "Phenomena Which Produce Television and Talking Films Topic of Society Here." home history motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras home entertainment modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space sound recording motion pictures, and sound recording sound recording, and motion pictures television television, and photo electric cell Physicists Discuss Photo-Electric Cell 39330 A Physiologist's Analysis of the Mind That Thinks in Colors Current Opinion
Sept. 1914
57 3 181-83 This article talks about research on people who think in color. Just as some people apparently hear -- e.g. music -- in color, some people associate days of the week or other matters with specific colors. However, this trait appears to be highly individualistic in that different people might associate different colors with a particular day of the week (e.g., Tuesdays). Scientists have little explanation. The answers explaining why some people think in color is "extremely disappointing, for we have no satisfactory explanation of any of these matters," the article says. (182) Thinking in color is something akin to genius because it cannot be taught or "conferred by training or education." (183) media effects emotion decadence color, in literature color, and research on color color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations color, and little known about A Physiologist's Analysis of the Mind That Thinks in Colors 15250 Pictorial Photography in Colours The Times [London]
Aug. 20, 1908
6 The Times provides an account of progress in color photography. photography photography and visual communication photography, and color color, and photography color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA Lumiere process, and color photography color, and Lumiere process photography, and sexuality sexuality, and photography women women, and color photography photography, and women sexuality Pictorial Photography in Colours 14000 Picture Men Favor Censors New York Times
Oct. 11, 1910
8 This report on movie makers who supported some form of regulation on films has the subtitle: "Concur in the Plan to Have a Public Board Pass on Their Films." censorship motion pictures censorship, and motion pictures motion pictures, and censorship censorship and ratings Picture Men Favor Censors 37970 The Picture Post-Card Living Age
July 30, 1904
242 3134 310-14 This article says that while the "superior person despises the picture post-card," such people often fail to understand the "charm" and the "imaginative sense" that underlies this form of communication. The intelligent collector of post cards, with their imperfect photographs, "is constantly, in the imagination, traversing the whole world." (310) post office postal service modernity modernity, and photography postcards, and modernity new way of seeing postcards, and space and time space and time postcards, and time postcards, and space postcards, and travel postcards The Picture Post-Card 13280 Picture Shows a Foul Chicago Daily Tribune
May 15, 1897
7 This article says that film of the Fitzsimmons-Corbett boxing match showed a foul. The subtitle of the article is: "First of Verascope Illustrations of the Carson Fight. Fitzsimmons Appears to Be Striking Corbett While the Latter Is on His Knees. Referee Silver Declare It Is Not an Accurate Reproduction He Shows Where It Is Wrong and Complains of Talk about Unfairness Since the Battle." sensationalism motion pictures, and sports motion pictures motion pictures, and boxing motion pictures, and race motion pictures, and violence violence, and motion pictures violence race race, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras Picture Shows a Foul 37340 Pictures and News Outlook
Nov. 10, 1915
577 This publication notes that it plans to giver\ readers sixteen additional pages of illustrations using "a new process of photogravure printing," and "without diminishing the space devoted to printed matter." Two of the illustrated pages will be devoted to advertising. These pictures will be more than mere entertainment and will try to do for readers "precisely what vivid writing does -- bring vividly before them the character of man, the representation of an action, a historical background, or an event of current history."
The article says that the Outlook "proposes to do this once every month; and to combine, by the development of the process of printing photogravures, a fine quality of art with timely news interest. Until very recently it was possible to print the photogravure only on a flat press; it can now be printed on a rotary press; and this makes it possible to extend the use of the process from the art publications to the weekly newspaper." rotogravure journalism illustrations magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies photogravure process photogravure process, and rotogravure process rotogravure process, and photogravure process illustrations, and magazines books, periodicals, newspapers rotogravure process, and history history, and rotogravure process illustrations, and newspapers advertising, and rotogravure process rotogravure process, and advertising photogravure process, and advertising advertising, and photogravure process advertising history Pictures and News 740 The Pictures and Their Part in Modern Life Los Angeles Times
Oct. 7, 1917
II 6 Commenting on the impact of motion pictures, this article says that “So great an influence have moving pictures become in the home that it is difficult to appraise the extent of their hold upon the minds and the hearts, the morals and the fashions of us all. Pictures are well-nigh as vital to our thought and entertainment as oxygen and hydrogen to the water we drink and the air we breathe. As an influence they rank with the churches, the schools and the newspapers.” The rest of this article continues in the same vein. home motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space values motion pictures, and values home and new media motion pictures, and home home, and motion pictures motion pictures, and social influence children children, and motion pictures motion pictures, and children media effects motion pictures, and media effects media effects, and motion pictures children, and media The Pictures and Their Part in Modern Life 38200 Pictures by Telegraph Christian Observer
May 29, 1901
89 22 21 This brief article reports that "a half-tone picture of President Harper of Chicago University was recently sent by telegraph from New York to Chicago." The story was reported earlier in such newspapers as the Chicago Daily Tribune (April 13, 1901, p. 1). telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph photography Pictures by Telegraph 38230 Pictures by Wire New York Evangelist
April 7, 1898
69 14 35 This article discusses the invention by Ernest Hummell of St. Paul, MN, to see pictures over telegraph lines. It says that "The Western Union Telegraph Company furnished a wire for sending a picture from Key West by cable to Punta Rassa, a distance of 150 miles, and thence by wire to Jacksonville, and on to Savannah, Washington, Philadelphia, and New York, a total distance of 2,000 miles.
"The [New York] Herald of Saturday contains the result in the shape of a picture of General Maximo Gomez and one of the cruiser Montgomery entering the harbor of Havana.
"Mr. Hummel, who is a jeweler of St. Paul, Minnesota, is the inventor of a receiver and transmitter by which the pictures are sent. The receiving machine is said to look very much like a miniature printing press. The Herald describes the operation as follows: ...." (seven paragraphs are reprinted from the Herald article). wood engraving journalism magazines, and photography telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving Hummell, Ernest, and pictures by wire New York Herald, and pictures by wire New York Herald, and photography duplicating technologies duplicating technologies, and photography duplicating technologies, and facsimile photography, and New York Herald telegraph, and New York Herald New York Herald, and facsimile facsimile, and New York Herald Western Union Western Union, and pictures by wire magazines photography Pictures by Wire 38180 Pictures Sent by Wire Chicago Daily Tribune
Jan. 9, 1898
28 The subtitle of this article reports: "New Device Solves a Difficult Problem and Increases Newspaper Possibilities." The article goes on to say that "Last week the New York Herald made the first use of an invention which enables pictures to be telegraphed to any distance. The tests have been uniformly and completely successful, and the device is now in daily operation. Ernest A. Hummel of St. Paul is the inventor, and he will certainly realize a fortune from his machine.
"The picture to be transmitted is first drawn on a piece of tin four and a half inches square. That piece of tin is placed on a stationary bed in the transmitter and locked in. The drawing is uppermost...." The article goes on to explain how the device works. telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph New York Herald, and pictures by wire New York Herald, and photography duplicating technologies duplicating technologies, and photography duplicating technologies, and facsimile photography, and New York Herald telegraph, and New York Herald New York Herald, and facsimile facsimile, and New York Herald photography Pictures Sent by Wire 38150 Pictures Sent by Wire Chicago Daily Tribune
April 13, 1901
1 This article reports that "a life-sized portrait of President William R. Harper of the University of Chicago was transmitted by wire from the engineering building of Columbia University tonight to the Quadrangle club in Chicago, and at the same time a similar picture of Seth Low was flashed from Chicago to this city. The experiment was one of the features of the program at the conversazione of the American Institute of Electrical Engineers at the Columbia University this evening.
"The pictures were sent by an entirely new system, which was explained at length by H. R. Palmer. By the system halftone pictures, sketches, handwriting, and the like can be transmitted over long distances, employing ordinary telegraph circuits." The concluding paragraph explains how this invention works.
Other exhibits are discussed here, including Nicola Tesla's experiments with an electric oscillator, and R. M. Hutchison "akouphone and akoulalion" described as "a microtelephonic instrument." The latter might enable the "deaf to hear." telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph sound recording, and hearing impaired Tesla, Nikola Tesla, Nikola, and electric oscillator sound recording, and akouphone photography sound recording Pictures Sent by Wire 14420 Plague Spots Los Angeles Times
Aug. 9, 1899
5 According to the author of this piece, the "city’s moral health demands the immediate cleansing of the festering plague spots known as ‘phonograph parlors.’ Vile pictures are on exhibition there ….” censorship censorship censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures metaphors metaphors, and plague spots sound recording sound recording, and phonograph censorship and ratings censorship, and movie theaters censorship, and phonograph parlors metaphors, and theaters Plague Spots 14730 Plan Clean 5-Cent Show Chicago Daily Tribune
May 24, 1907
7 The subtitle to the articles reads: "Hull House Workers to Operate Moving Pictures; Performances to Continue from 6 to 11 O’Clock Every Night and All Day on Saturdays and Sundays Scheme Announced by Mrs. Gertrude H. Britton and Approved by Judge Mack and Others Improvements in Cheap Amusement Places." reform citizenship children Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children violence violence, and motion pictures motion pictures, and violence motion pictures, and crime audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and reformers reformers, and motion pictures critics critics, and reformers reformers, and critics law motion pictures, and education education, and motion pictures motion pictures, and citizenship citizenship, and motion pictures women women, and censorship women, and motion pictures motion pictures, and women censorship, and women theaters motion pictures, and theaters theaters, and motion pictures audiences children, and theaters theaters, and children Chicago, and motion pictures motion pictures, and Chicago Addams, Jane, and motion pictures Addams, Jane motion pictures, and Hull House education Plan Clean 5-Cent Show 15330 Plato and the Movies New York Times
Oct. 2, 1926
18 This article draws a parallel between the movies and Plato’s cave: “…They cannot see each other, the fire or the performers carrying objects to and fro on the low wall behind them any more than the spectators in a modern movie can see the dummy substituted on the floating cake of ice as it nears the dam. They take the capering shadows for reality. It one is released from his bonds and taken into the light where the real persons and objects are pointed out to him, he does not rejoice. The light hurts his eyes. It pains him to turn his neck. He does not believe that he has been seeing silly things and that he is now nearer to reality. He flies back to his dark cavern as fast as he can.
“That pessimistic view of the movies may in time have to be changed. They are now in the romantic stage, falling into the general classification of ‘escape’ literature. Their patrons, charmed by false glory, are in the habit of identifying themselves with the protagonist, which necessitates a happy ending, no matter how art must be dragged and plausibility outraged. But the movies are camping on the trail of the theatre. A few realistic pictures have been done, some without too much loss of money. Perhaps it will be possible to illuminate the cave if the audience there refuses to be brought out into the light.” fame fame celebrity actors acting false leaders motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars motion pictures, and false leaders false leaders, and motion pictures motion pictures, and deception motion pictures, and Plato's cave metaphors metaphors, and Plato's cave critics critics, and motion pictures Plato and the Movies 17220 Playboy
1950s-1990s
Playboy was a magazine that exploited such technology as color photography in its nude photographs of women. Its circulation rose sharply during the 1960s and it was influential in the youth culture of that decade. It feature articles from leading writers and intellectuals. Some, such as Arthur C. Clarke and Alvin Toffler, discussed the impact of new media on society. During the mid-1980s, the magazine became a target for Meese Commission and anti-pornography crusades. corporations magazines corporations sexuality pornography Playboy sexuality obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity, Meese Commission anti-pornography crusade, Curtis Circulation Company K-Mart Wal-Mart Playboy, and circulation decline Hefner, Hugh anti-pornography crusade 27620 The Playboy Philosopher Newsweek
Aug 4, 1986
3, 50 An article about Hugh Hefner, Playboy, and the Reagan adminstration's offensive against pornography. presidents, and new media Reagan administration values sexuality sexuality obscenity Meese Commission law censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography pornography, judicial setbacks Playboy pornography, and Playboy Playboy, and pornography Hefner, Hugh values Reagan, Ronald The Playboy Philosopher 27580 Playboy Sues Meese, Porn Panel, Cite 'Blacklist' Adweek
May 26, 1986
Southeast Edition website This article deals with Playboy's suit against Attorney General Edwin Meese. Playboy was the target of anti-pornography boycotts at the time and several chains stopped carrying the magazine. These developments came at a time when video cassettes were changing the way Americans experienced erotica. presidents, and new media Reagan administration sexuality sexuality obscenity Meese Commission law censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography pornography, judicial setbacks Playboy pornography, and Playboy Playboy, and pornography Reagan, Ronald Playboy Sues Meese, Porn Panel, Cite 'Blacklist' 23040 Playgirl
1985-87
This magazine, the female version of Playboy, exploited such technology as modern photography in its nude picture of men. During the mid-1980s, the Meese Commission targeted it as part of an offensive against pornography. magazines sexuality pornography sexuality obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity, Meese Commission anti-pornography crusade Playgirl, and circulation decline Playgirl 1000 Plays on the Stage by Machinery Alone New York Times
April 13, 1908
7 This article describes a device that combines the gramophone and moving picture, the “theatorium,” presents plays without actors. The subtitle of this article reads: "Charles H. Perry Perfects Deal for Use of the ‘Theatorium’ in Leading Houses; the Shuberts Take a Hand; Shakespeare’s Plays, ‘Dr. Jekyl and Mr. Hyde,’ and Other Dramas to be Presented without Actors." theater stage motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures gramophone gramophone, and motion pictures motion pictures, and gramophone sound recording motion pictures, and sound recording sound recording, and motion pictures theater and stage motion pictures, and stage stage, and motion pictures Plays on the Stage by Machinery Alone 41180 Poetry of Nature -- Tintern Abbey Nassau Literary Magazine
Jan., 1880
36 6 239-47 Poetry of Nature -- Tintern Abbey 14610 Police to Censor Shows Chicago Daily Tribune
April 30, 1907
2 The subtitle of this article reads: "Squad Detailed to Nickel and 10 Cent Places; Chief Says First Class Houses Are Often Just as Bad, but He Will Not Tackle Them If Any Cheap Theater Gives Vicious Exhibitions Manager Will Be Notified to Stop Under Penalty of Immediate Revocation of License." immorality children Chicago, IL censorship actors acting actors acting photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures nudity nudity, and the stage theaters theaters, and 5-cent values, and theater values, and motion pictures motion pictures, and values theater, and values values immorality, and theater immorality, and motion pictures motion pictures, and immorality religion religion, and motion pictures religion, and theater theater, and religion motion pictures, and religion actors, and status of motion pictures, and Chicago Chicago, and motion pictures violence motion pictures, and violence violence, and motion pictures motion pictures, and crime advertising theater Police to Censor Shows 28330 Pope Calls on Media to Stem Spread of Porn and Violence Toronto Star
Sept. 16, 1987
A3 This is an account of Pope John Paul II's address to entertainment leaders at Universal Studios in Hollywood. He talked about the moral influence in motion pictures, music, and other forms of entertainment. The communication industry should "support human dignity because the world is constantly tempted to forget it," the Pope said. Motion Picture Association of America (MPAA) MPAA values Christianity Wasserman, Lew Valenti, Jack values motion pictures Hollywood values religion Catholic Church non-USA motion pictures and popular culture television Pope John Paul II, and motion pictures Pope John Paul II Pope John Paul II, and television television, and Pope John Paul II motion pictures, and Pope John Paul II Valenti, Jack, and Pope John Paul II Wasserman, Lew, and Pope John Paul II Hollywood, and Catholic Church Hollywood, and religion Catholic Church, and Hollywood values critics values, and virtual reality virtual reality Pope Calls on Media to Stem Spread of Porn and Violence 13260 Pope Leo in Moving Pictures Chicago Daily Tribune
Nov. 25, 1898
7 This article discusses the filming of Pope Leo XIII. "Pope Leo XIII has posed before a moving picture machine. In pictures now he may be seen to walk, bow, take off his hat, smile, drive in his landau through the alleys of the Vatican gardens, and give, with his right hand raised, the apostolic benediction.
"To the faithful that apostolic benediction reproduced in the pictures will have the same effect as if it were conferred directly, personally. The camera was blessed. (emphasis added)
"In Baltimore on Tuesday, in Washington on Wednesday, before Cardinal Gibbons, the Apostolic Delegate; Mgr. Martinelli; Dr. Garrigan, rector of the University of America; the rector of the Georgetown University, and many other dignitaries of the Roman Catholic Church, the moving pictures are to be shown.
"There are to be displayed on these two occasions before they are displayed elsewhere. They may not be displayed elsewhere if they are considered adversely there. The exhibitions are to be absolutely under the control of the church in America." journalism journalism history history magazines, and photography magazines photography motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures religion, and motion pictures motion pictures, and religion photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones religion, and photography photography, and religion religion motion pictures, and Pope Leo XIII religion, and Pope Leo XIII newsreels (origins) newsreels, and Pope Leo XIII motion pictures, and news motion pictures, and newsreels newsreels Pope Leo in Moving Pictures 27660 Pornography: Smut City The Economist
Sept. 23, 1989
28 (p. 58, UK Edition) In section: World Politics and Current Affairs: American Survey This article discusses the rise of pornography as a big business, thanks in part to its exploitation of such new media as cable television, satellites, and video cassettes. computers video cassette recorders (VCRs) corporations corporations, multinational magnetic recording satellites, and communication video sexuality new media multinational corporations motion pictures Internet satellites magnetic tape non-USA home, and new media home motion pictures and popular culture new media, and home home, and new media pornography pornography, and corporations pornography, and home pornography, and new media pornography, and cable TV television television, and cable television, and pornography pornography, and television pornography, and satellites satellites, and space communication pornography, and hotels capitalism, and pornography pornography, and capitalism pornography, and multinational corporation multinational corporations, and pornographny cable, and pornography satellites, and pornography new media, and pornography VCRs video, and pornography pornography, and VCRs pornography, and video computers and the Internet Internet, and pornography videotape videotape, and pornography pornography, and videotape aeronautics and space communication cable capitalism Pornography: Smut City 17890 A Pot-Pourri of Film Widths and Sprocket Holes American Cinematographer
Jan., 1969
50 1 98-99, 101, 103 See filed under American Cinematographer (1969). This 1969 piece appeared in an issue devoted the previous fifty years in the technology of cinema. This article discusses the wide range of film widths used in the history of motion pictures cinema motion pictures celluloid film color motion pictures and popular culture motion pictures motion pictures, and history of motion pictures, and film width film, and film width materials A Pot-Pourri of Film Widths and Sprocket Holes 940 Prefers Shows to Light. Newton, N. J. Couldn’t Have Moving Pictures and Light Streets, Too New York Times
Oct. 25, 1911
1 Places that show moving picture have been drawing so much power it was not possible to light all the street lights. electricity theaters electricity, and theaters motion pictures electricity, and motion pictures motion pictures, and electricity modernity modernity, and motion pictures motion pictures, and modernity new way of seeing Prefers Shows to Light. Newton, N. J. Couldn’t Have Moving Pictures and Light Streets, Too 14620 Prepared for the Worst; Little Stories of Fact and Fancy New York Times
Sept. 24, 1911
SM 6 This article tells of youth selling smelling salts to offset the horrors to be seen inside the movie house. immorality children censorship actors acting actors acting photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures nudity nudity, and the stage theaters theaters, and 5-cent values, and theater values, and motion pictures motion pictures, and values theater, and values values immorality, and theater immorality, and motion pictures motion pictures, and immorality religion religion, and motion pictures religion, and theater theater, and religion motion pictures, and religion actors, and status of motion pictures, and New York New York, and motion pictures violence motion pictures, and violence violence, and motion pictures motion pictures, and crime advertising theater Prepared for the Worst; Little Stories of Fact and Fancy 19680 Presidency: Revolving Door at 1600 Newsweek
May 9, 1966
67 26-27 This article deals with Jack Valenti, Lyndon Johnson, and the origins of Valenti's work with the Motion Picture Association of America. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Presidency: Revolving Door at 1600 36970 President Roosevelt Opens Electrical Show New York Times
Dec. 13, 1905
6 This article is about the Electrical Show at Madison Square Garden in New York City and part of that exhibit for President Theodore Roosevelt pressing a key that lighted the exhibit. "Whether one visits the Garden, while electricity reigns there, for the purpose of witnessing the demonstration of its spectacular phenomena, or whether one is drawn by the genuine interest in the manifold uses of the electric fluid in the home of to-day, the factory, the office, or the railroad, there is no chance of disappointment." The article goes on to discuss how electricity can add "to the comforts of home life." One exhibit was the "theatrephone" where one could "listen to the words and music of several performances now going on in New York." Many other types of talking machines were on display. Also mentioned are demonstration wireless to ships at sea by the De Forest Wireless Telegraph Company, and X-rays. The article ends by mentioning that this evening, the new "Moore light" with its changing colors will be on exhibit at the Garden.
The article's subtitle reads: "Golden Key in White House Floods the Garden with Light. Scene a Brilliant One. Show Includes Both the Latest Popular Electrical Devices and the More Technical Exhibits." wireless communication home electricity presidents and new media Roosevelt, Theodore telephones home and new media Roosevelt, Theodore, and electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity home, and electricity electricity, and home telephones, and theatrephone home entertainment sound recording home, and sound recording office and new media office, and electricity electricity, and office X-rays wireless radio radio, and wireless office President Roosevelt Opens Electrical Show 15840 Pressagenting the Movies New York Times
Feb. 3, 1918
45 This article discusses how press agents attempt to publicize movies and their stars. It talks about the differences between publicizing stage plays and movies the press agent for a play is concerned with only a limited number of cities; a 150 or more prints of a film will be sent out and the agent doesn’t always know where. On the use of photographs “every paper receives a shower of ‘stills’ each week from local theatres where films are being shown, including a “goodly number of ‘star’ portraits.’” One movie company regularly mails five “stills” each week to 400 publications. To cover the country for a film, about 3,000 ‘stills’ are needed to filter down through exchanges to local papers, etc.
“Many other forms of printed publicity are issued, or have been issued, in the still-experimental life of the movies. Some companies, like Metro, publish complete weekly magazines, dressed to imitate the best of the ‘fan’ publications, but featuring one line of stars only. Triangle at one time published a very handsome rotogravure weekly of this character.” Also used are “house organs.” The article talks about press sheets, and press book. It notes that the some press sheets look like newspaper. “Essanay makes up a similar press sheet and dresses it to look like a miniature newspaper. Triangle’s press sheet is larger, running to five columns, and carrying four illustrations.” theater stage rotogravure process history fame celebrity actors acting magazines, and photography magazines photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures history and new media motion pictures, and history history, and motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures, and new art form advertising and public relations motion pictures, and press agents newspapers, and photography photography, and newspapers magazines, and photography photography, and magazines news and journalism motion pictures, and distribution motion pictures, and public relations rotogravure rotogravure, and newspapers newspapers, and rotogravure rotogravure, and movie stars theater and stage motion pictures, and stage stage, and motion pictures advertising Pressagenting the Movies 36510 Private Property Leslie Stevens Citation Films, Inc.
1960
During the late 1950s, film makers in both the United States and Europe began trying to treat the topic of homosexuality, even though the subject was forbidden by Hollywood Production Code. Eventually, in 1961, the Motion Picture Association of America relaxed its rules to allow treatment of the subject in a limited way. This low-budget movies, however, played in the United States before the MPAA's code was revised. The Production Code Administration rejected the film and the Roman Catholic Legion of Decency condemned it.
Plot summary from American Film Institute Catalog: "In Southern California, handsome beatnik Duke and his young friend Boots terrorize a gas station attendant and then hitch a ride with salesman Ed Hogate. When Ed stops at a service station, the boys spot pretty Ann Carlyle. Duke, who guesses that Boots is homosexual, decides to seduce Ann in order to let the naïve Boots have his way with her. Holding Ed at knifepoint, Duke demands he follow Ann's car to her neighborhood, where the two young men break into the empty house next door. Upon discerning that Ann's husband Roger ignores her, Duke poses as a gardener in order to gain access to Ann's daily life. He soon befriends her and, after convincing her to invite Boots over, plies her with alcohol. The lonely, drunken Ann responds to Duke's sexual overtures, after which he carries her to the neighbor's bed for Boots to ravish. Boots, however, cannot go through with the act and races out of the house, where a furious Duke punches him. The two fall into the pool, fighting, and during the brawl Duke stabs Boots to death. Just then, Roger returns home and fights Duke. Roger has almost lost the fight when Ann appears with a gun drawn. She shoots Duke three times, killing him."
The production company for this film was Kana Productions, Inc.; Daystar Productions. It opened in New York City, April 24, 1960.

Note: No print of this film could be located. The above information was gleaned from contemporary reviews, news items and press materials. Although the Har review cites the film's title as Private Property!, no other source included the exclamation point. Private Property was the first film for producer Stanley Colbert and writer-director Leslie Stevens. The partners had previously written the stage play The Marriage-Go-Round, which Stevens produced and directed for Twentieth Century-Fox later in 1960. Kate Manx was Stevens' wife.
According to several reviews, Private Property was produced for only $59,000 and was shot mainly at Stevens' home in Los Angeles. Before its release, the film was denied a Production Code seal and given a "C," or condemned, rating by the National Catholic Legion of Decency for "highly suggestive sequences, dialogue and music." However, as noted in a 17 Feb 1960 HR news item, the New York State Board of Censors passed the picture without edits.
Press materials refer to Stevens as an "American New Wave" director, in reference to the French New Wave filmmakers who were earning acclaim at the time. A publicity line called the film "The most cussed and discussed film of our generation." Many reviews stated that although Private Property's subject matter was prurient, the filmmaking was excellent. Although Stevens was hailed as a rising young talent, he made only two more feature films."

Source citations:

Variety 13 Apr 60, p. 20.
Motion Picture Herald Product Digest 30 Apr 60, p. 675.
New York Times 25 Apr 60, p. 40.
Hollywood Reporter 8 Apr 60, p. 3.
Film Daily 27 Apr 60, p. 6.
Daily Variety 8 Apr 60, p. 3.
Box Office 11 Apr 1960.
American Cinematographer Aug 60, pp. 486-87, 500-502.
Hollywood Reporter 10 Jul 1959, p. 12.
Harrison's Reports 30 Apr 1960, p. 72.
Hollywood Reporter 14 Aug 1959, p. 6.
Hollywood Reporter 17 Feb 1960, p. 2.
Hollywood Reporter 12 May 1960, p. 2.
Filmfacts 27 May 1960, pp. 97-99.
Hollywood Reporter 21 Aug 1959, p. 16. censorship self-regulation motion pictures, and sexuality sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality Private Property 15150 Problem of Color Photography About Solved After Many Experiments By the Lumieve [sic] Process, the Discovery of Two French Inventors New York Times
Sept. 8, 1907
X 8 This article discusses the Lumiere brothers and their process of taking color photographs. “They simplify the process of color photography to such an extent that almost any photographer may make colored negatives.” The article's subtitle reads: "It is Claimed That a Simple Methods for Making Colored Prints Has been Found." photography photography and visual communication photography, and color color, and photography color Lumiere process, and color photography color, and Lumiere process non-USA France France, and color photography France, and Lumiere process media effects media effects, and color color, and media effects Problem of Color Photography About Solved After Many Experiments By the Lumieve [sic] Process, the Discovery of Two French Inventors 1840 Proceedings of the Society of Photo-Optical Instrumentation Engineers 80, 100, 135, 174, 221, 333, 334, 394, 470, 538, 633, 1086, 1185, 1262, 1466, 2726, 3051, 3334 These volumes contain technical papers prepared by scientists who worked in areas related to photolithography, and provide information for those interested in the scientific evolution of this technology. computers photography communication revolution second industrial revolution communication revolution materials computers photography and visual communication microelectronics lithography computers and the Internet photography and visual communication lithography, photolithography photolithography computers, chips computers, scientific process miniaturization microelectronics revolution materials 13310 Production Code Administration Files Margaret Herrick Library, Beverly Hills, CA For anyone interested in examining how censors attempted to change the content of motion pictures from 1930 to 1966, this collection is a gold mine. It contains files on about 20,000 movies. Many of the files, which deal with specific films, go into great detail on what was changed and why. The files are particular informative for the period between 1934 and 1954 when Joseph I. Breen headed the Production Code Administration. California -- Beverly Hills -- Margaret Herrick Library self-regulation Production Code PCA values Production Code (motion pictures) archives values religion law censorship and ratings censorship archives censorship, and motion pictures motion pictures, and censorship motion pictures and popular culture motion pictures Production Code (motion pictures) Production Code Administration (PCA) Breen, Joseph Production Code Administration Files 34450 Production Code Administration Files (1930-1966) Margaret Herrick Library, Beverly Hills, CA This collection is a major source for any scholar interested in motion picture censorship and the Motion Picture Producers and Assocation of America (MPPDA) between 1930 and the late 1960s. The collection contains files on some 20,000 films. Often the files are detailed with letters and memoranda revealing how the Production Code Administration censored movie scripts, line-by-line, scene-by-scene, usually before production began. censorship and ratings Breen, Joseph Hays, Will H. motion pictures motion pictures, and censorship censorship, and motion pictures MPPDA censorship, and MPPDA MPPDA, and censorship PCA censorship Motion Picture Association of America (MPAA) MPAA Production Code Administration (PCA) Production Code Production Code Administration Files (1930-1966) 35440 Production Code Unit Sees Increase in Film Production New York Times
April 3, 1963
42 This article notes that 55 movie scripts were submitted to the Production Code Administration during the first quarter of the year compared to only 37 during the first quarter during the previous year. The article notes, thought that "very few [films] are turned down" by the PCA. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code Unit Sees Increase in Film Production 20230 Professor at Rutgers New Film-Rating Chief New York Times
July 11, 1974
24 This article discusses Richard D. Heffner, recently named to head the movie industry's Code and Rating Administration. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures Heffner, Richard CARA, and Richard Heffner Heffner, Richard, and CARA CARA Professor at Rutgers New Film-Rating Chief 30520 [Profile: Dan Glickman]
[2004?]
July 5, 2004 http://ksgfaculty.harvard.edu/Dan_Glickman This website at the John F. Kennedy School of Government at Harvard University gives a profile of Dan Glickman, who succeeded Jack Valenti as president of the Motion Picture Association of America on September 1, 2004. It also lists several of expertise on which Glickman and other faculty in the Kennedy School welcomed questions. Civic Engagement, Communications, Democracy, Politics, and the Presidency are among the topics. Motion Picture Association of America (MPAA) Classification and Rating Administration CARA Classification and Rating Administration (CARA) motion pictures censorship and ratings censorship MPAA Glickman, Dan MPAA, and Dan Glickman CARA, and Dan Glickman CARA [Profile: Dan Glickman] 90 The Progress of the Motion Picture The Independent
April 5, 1915
82 3461 21 This article follows up on a earlier editorial in The Independent (April 1914) called "The Birth of a New Art." In the year since that editorial, this piece says, "the motion picture has developed so rapidly in beauty and freedom as to leave no room for doubt of its artistic capabilities." Audiences are no longer drawn simply by moving pictures novelty and by scientific interest but because they prefer it over melodramas, problems plays, or musical comedies. Although movies still lack color and sound compared to the stage, they have several advantages over traditional theater. Movies can use all of the out-of-doors, can change scenes more often, can travel easily into the future or back into the past (like "Wells's time-machine"). Cameras can use close-ups and read facial expressions, and movies can visualize an actors thoughts. Special effects can be expensive and spectacular because, unlike in the stage, they only have to be paid for once. The article predicts that movies "will become a permanent part of the intellectual and esthetic life of the nation." theater stage motion pictures theater and stage motion pictures, and stage stage, and motion pictures motion pictures magazines motion pictures, and metaphors metaphors, and motion pictures cameras, and close-ups motion pictures, and history motion pictures, and differences with stage magazines metaphors cameras The Progress of the Motion Picture 37510 Progress of the Race Between Nature and the Scientific Camera Current Opinion
Dec. 1916
61 6 397 This article comments on the difficulties in taking pictures of extremely rapid movement. It reports that in Germany, a "picture has been taken ... in one ten millionth part of a second." It also notes that the "fastest moving-picture machine at present takes pictures at the rate of two thousand per second," compared to the "ordinary moving picture" which "takes some sixteen pictures as second, and the interval between exposures is skipped." (emphasis added) The camera man who can take 2,000 pictures a second thus "shows us many wonders of nature which the human eye has never looked upon." The significance of this rapid speed camera work may be no less important that the worlds shown by the microscope and telescope. The article quotes an excerpt from Francis A. Collins' book The Camera Man (1916), and notes that a picture has been taken of an electric spark and also a moving picture of a bee's wings in flight. Such visual information may have great practical effect. Quoting Collins, the article says: "It is conceivable that the flying machine of the future may be constructed, or operated on some entirely new principle discovered by the scientific camera man." science medicine history photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures photography, and exposure time motion pictures, and medicine medicine, and motion pictures non-USA Germany Germany, and instantaneous photography electricity electricity, and instantaneous photography photography, and electricity aeronautics and space communication photography, and airplanes Progress of the Race Between Nature and the Scientific Camera 42870 'Projection' of Audiences Prophesied: Robert Edmond Jones Envisons Ultimate Step in Television Los Angeles Times
May 3, 1936
C 4 "Color is here. Television is much nearer than any of us think. Three-dimensional photography is one the way," this article begins. "But even that doesn't comprehend everything that may be accomplished in making entertainment available to the public. Probably the day will arrive when the individual, as part of that public, will himself be projected, so that he will be able to witness actual events both in and out of the theater without actually being there in the flesh. And he will be just as much a spectator as the person who is genuinely there." There were predictions made by Robert Edmond Jones, this article says.
Jones foresaw three-dimensional TV. Quoting Jones: "'Television as long as it is just two-dimensional will not completely compensate. We can probably look forward to the day when the semblances of real figures (three-dimensional) will seem actually to be projected into our presence, possibly by means of some sort of light or radio beam, or other electrical means.
"'The reverse will probably be even more important -- the individual himself being projected to any part of the world at will. If there be a Metropolitan Opera House he will visit that. If there is a war in Ethiopia he will want to be right on the scene. Just as television gives promise of bringing such events to us; so we, in the future will be able actually to "go" to them.'"
This will mean the end of privacy, Jones said. "'That be the ultimate, for it will probably become a difficult time for human being to enjoy any privacy,' Jones said."
Jones commented on the color in movies "'In pictures today color is by far the most important thing in lending reality,' he continued. 'The only difficulty is that so far we have produced mostly "colored" pictures rather than "color" pictures. We have not used color for its full emotional value. We are not as yet making color an integral part of the picture -- a necessity. Furthermore we too often select picture subjects which over-emphasize colors. For that reason, nothing would be more beneficial than the production of a modern story.'"
Jones thought too much emphasis had been placed on subduing color and it is interesting to speculate if this was an indirect criticism of Natalie Kalmus who was hired by studios to coordinate color on movie sets. Quoting Jones: "'Subduing colors, which has come much into vogue, is just an expedient. A very happy expedient, perhaps; but still not what will really make color fulfill its proper function. It's an easy way out of the difficulty, but it still isn't using color to the greatest advantage.'"
Jones say that color would change acting, making it not more flamboyant but closer to real life. "'Color is going to change acting. Some think that it will become more flamboyant. Personally, I don't believe that. I think it will take the form of a closer approach to the simplicity that prevails on the modern stage. Color won't demand exaggeration in acting. It will call for a nearer approach to life.'" Kalmus, Herbert motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature color, and new way of seeing motion picture, and Becky Sharp motion pictures, and La Cacuracha color, and La Cacuracha color, and Becky Sharp motion pictures, and 3-D media effects, and color films motion pictures, and magic color films, and magic television television, and 3-D 3-D 3-D, and Robert Edmond Jones 3-D, and television actors acting actors, and color movies acting, and color movies seeing at a distance television, and seeing at a distance motion pictures, and seeing at a distance privacy television, and privacy privacy, and television cameras cameras, and privacy privacy, and cameras privacy, and Robert Edmond Jones media effects 'Projection' of Audiences Prophesied: Robert Edmond Jones Envisons Ultimate Step in Television 220 The Psychology of the 'Movies' The Dial
June 22, 1916
LXI 721 28-29 This work is a review of Hugo Münsterberg's book The Photoplay (1916). The writer takes exception to some of Münsterberg's arguments. For example, "When the thesis extends to the claim that the popular devices developed conform to extensions of the intrinsic mental movement, giving it a new and precise expression, serious doubts arise. The argument becomes rather academic, like a retrogressive prophecy: what is, must be. The 'close-ups' follow the same mechanism that brought about the opera-glass; while the 'cut-backs,' which picture the reflections of the hero or heroine upon a tender past, represent the play of the reflective imagination of the spectator...." (29) Münsterberg, Hugo Munsterberg, Hugo motion pictures motion pictures, and new art form motion pictures, and psychology Münsterberg, Hugo motion pictures, and Hugo Münsterberg motion pictures, and Lindsay, Vachel motion pictures, and Vachel Lindsay The Psychology of the 'Movies' 18050 The Public Appraises Movies: A Survey for Motion Picture Association of America, Inc. Princeton, N. J. Opinion Research Corporation
Dec., 1957
Folder 10, Box 9, Mss 1446, Records of the National Association of Theater Owners (NATO) , Special Collections and Manuscripts, Harold B. Lee Library, Brigham Young University, Provo, UT. This survey deals with the public's response to motion pictures. It was a period when television was beginning to make inroads on Hollywood's audiences, especially those people interested in family entertainment. A copy of this survey is in Folder 10, Box 9, Mss 1446, Records of the National Association of Theater Owners (NATO) , Special Collections and Manuscripts, Harold B. Lee Library, Brigham Young University, Provo, UT. archives audiences television motion pictures and popular culture motion pictures motion pictures, and attendance motion pictures, and television television, and movie attendance television, and motion pictures audiences, and motion pictures motion pictures, and audiences motion pictures, and postwar decline The Public Appraises Movies: A Survey for Motion Picture Association of America, Inc. 38110 Publicity Campaigning by a Campaigner The Independent
July 29, 1909
67 3165 224-28 This article discusses the growing trend of corporations to hire press agents in an effort to put forth the most favorable publicity, this at a time when many believed these companies were involved in corruption. "'Publicity Campaigning' ... is a new form of advertising -- the highest form that has yet been developed in this land of the advertiser," the author writes. Starting in late November, 1906, companies began using "Electric Talks," which "took the form of a daily display advertisement, regularly paid for as an advertisement, three columns wide and twelve or thirteen inches deep, a new one every day, printed in each of the three daily newspaper of Roanoke [Va] ... and .. number consecutively." (225) The author, who was involved in these campaigns, continues: "We started out by telling in these 'Electric Talks' just what the company had already done to provide a street railway and an electrical service for Roanoke by extending its lines to new sections and in various other ways it had helped to build up the city, to foster its growth, and to bring more people and more businesses to it...." (225) press agents advertising and public relations advertising, and newspapers newspapers, and advertising newspapers, and public relations newspapers, and press agents newspapers, and corporations press agents public relations, and newspapers public relations, and corporations electricity electricity, and Electric Talks advertising, and Electric Talks news and journalism news, and advertising advertising, and news advertising, and newspapers advertising news press public relations Publicity Campaigning by a Campaigner 13770 Queen's Work
1920-1950
Daniel Lord edited this Catholic magazine for many years. Lord was the primary architect of the motion picture Production Code, and this publication gives insight into his ideas. values Christianity religion values morality Catholic Church Catholic Church, and motion pictures motion pictures, and Catholic Church motion pictures, and critics motion pictures, and morality morality, and motion pictures Lord, Daniel A. motion pictures motion pictures and popular culture 13310 Queen Victoria’s Life on the Cinematograph The Times [London]
Nov. 4, 1913
4 The highlights of Queen Victoria's life have been captured on moving pictures. The article's subtitle reads: "Striking Events of the Reign." journalism history motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures Great Britain motion pictures, and Great Britain Great Britain, and motion pictures newsreels newsreels, and Great Britain Great Britain, and newsreels history and new media motion pictures, and history history, and motion pictures Queen Victoria’s Life on the Cinematograph 38100 Queens Life
Nov. 7, 1918
72 1880 This article begins by asking: "How about queens after the war? Who will care for them?" It ends: "What is the use of having a queen if she doesn't know how to wear clothes or act like a movie star?" celebrity celebrity culture actors acting motion pictures motion pictures, and stars motion pictures, and celebrity celebrity culture Queens 15480 Queer Contracts Made with Actors New York Times
Feb. 22, 1903
21 This article gives examples of the strict terms of contacts that many stage actors were expected to sign. The subtitle of the article reads: "Some Thrive on the Susceptibility of the Mummers. The Players as a Wage-Earner. Condition of Rhetorical Servitude. Why Successful Acts Say ‘Don’t’ to Stage Aspirants." stars (actors) theater stage fame fame celebrity actors acting actors acting celebrity culture fame personality theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and celebrity celebrity, and motion pictures fame, and motion pictures actors, and fame theater, and stars motion pictures Queer Contracts Made with Actors 14810 Queer Germ Contagious. Moving Pictures Inoculate Arizona Cowboy Los Angeles Times
Dec. 22, 1908
II 1 This story implies that an Arizona rancher (not a child) might have gotten the idea for trying counterfeiting from the movies. Says “A month passed in this city, amid the lurid attractions of crime-depicting melodramas and moving-picture shows, made an alleged counterfeiter of Henry Stove, an Arizona cowboy, now in jail at Tombstone…. he had never thought of passing bogus coins until the idea came to him while he was living here. After the evil germ found lodgment in his brain, the visitor went to the public library and there passed days poring over books on metallurgy and kindred subjects.”
The subtitle to this story reads: "Takes Tip from Film, Make Bad Gold Coins. Has High Old Time, But Is Quickly Jailed." children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and crime Queer Germ Contagious. Moving Pictures Inoculate Arizona Cowboy 1300 Quick Fashion Changes in Moving-Picture Plays New York Times
Aug. 4, 1912
SM 14 This article comments on the ability of motion pictures to influence tastes and fashions. “For with the moving picture business has come a new capriciousness to the public mind, a feverish desire for change which is new even to the amusement world. Old fashions in plays lasted two or three seasons; old fashions in books the same. Fashion, with the moving pictures, however, is not a question of two years, or one year. It has come to be only a question of months when a vogue for a certain character of film as utterly passes away as do the snows of yesteryear, or even more undecorative things. It is a strange phenomenon which, as has been said, the possessing competition of the moving-picture companies themselves created, without possibly considering its effect upon the public.” The article goes on to say that “… men search the furthest corners of the earth for ‘settings’ and appropriate scenery for thrilling dramatic event, and an organization, world-wide, like some mammoth industrial machine, spreads absorptive tentacles over the earth in the grim desire to discover new fashions of moving pictures for every civilized people.”
This article also mentions changes brought to the coverage of news. Its subtitle reads: "Public Demands New Subjects Constantly Enormous Sums Spent in Organization and in Keeping Pace with Changing Requirements Element of Great Personal Danger in Getting Films." nationalism journalism motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space travel, and motion pictures motion pictures, and travel capitalism nationalism and communication motion pictures, and nationalism nationalism, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and new art form motion pictures, and psychology values motion pictures, and values values, and motion pictures capitalism, and motion pictures motion pictures, and capitalism media effects media effects, and audiences audiences, and media effects audiences, and motion pictures motion pictures, and audiences advertising audiences transportation Quick Fashion Changes in Moving-Picture Plays 3450 QuVIS Brings Star Wars Into the New Millennium of Digital Cinema
May 10, 2002
July 18, 2003 http://www.quvis.com/news/pressreleases/051002_starwars.htm See filed under "Digital Cinema -- Hollywood - Military" This article in QVIS News reports that eleven North American theaters saw Star Wars: Episode II -- Attack of the Clones (20th Century Fox, 2002) in digital format. The movie, directed by George Lucas, was the first action major motion picture shot entirely digitally with no film. The article discusses Lucasfilm Skywalker Ranch and Industrial Light & Magic. R & D QuVIS nationalism motion pictures research and development war Lucas, George satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and QuVIS military, and digital cinema nationalism, and digital cinema Hollywood, and military military, and Hollywood Hollywood, and digital movies QuVIS, and digital cinema military, and sensors sensors digital standards digital standards, and Hollywood Hollywood, and digital standards military, and digital standards digital standards, and Hollywood aeronautics and space communication satellites, and digital cinema digital cinema, and satellites Star Wars...Clones, and digital cinema Star Wars ... Clones, and satellite transmission Lucasfilm, and digital cinema digital cinema, and Lucasfilm Lucas, George, and digital cinema Industrial Light & Magic, and digital cinema QuVIS Brings Star Wars Into the New Millennium of Digital Cinema 3370 QuVis Introduces Compression Technology to Southern California Military Community
Jan. 23, 2001
Jan. 4, 2003 (3:57 p.m.) http://www.quvis.com/news/pressreleases/102301_military.htm See filed under "Digital Cinema -- Hollywood - Military" This article, which appeared in QVIS News, notes that QuVIS, headquartered in Topeka, KS, "enabled the transfer, storage and play back for the digital premier of Miramax Films' Bounce, the first major motion picture to be delivered via satellite." The article notes areas of cooperation and mutual benefit between Hollywood and the military. 1) Developing standards for digital transmission. 2) Helping Hollywood with distribution standards. 3) Helping the modern military deal with "many sources of imagery as a result of the proliferation of small and low cost sensors." One might note, too, that the military looks to Hollywood for innovation in image simulation. R & D QuVIS nationalism motion pictures research and development war satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and QuVIS military, and digital cinema nationalism, and digital cinema Hollywood, and military military, and Hollywood Hollywood, and digital movies QuVIS, and digital cinema military, and sensors sensors aeronautics and space communication satellites, and digital cinema digital cinema, and satellites Bounce, and digital transmission QuVis Introduces Compression Technology to Southern California Military Community 3430 QuVIS Introduces QuBit ST 2.1 and QuClips Express to Military Community
Jan. 15, 2002
Jan. 4, 2003 (3:59 p.m.) http://www.quvis.com/news/pressreleases/011402_AFCEA.htm See filed under "Digital Cinema -- Hollywood - Miltary" This news release pertains to compression technology and digital communication, and the benefits they provide to "military simulation and display applications." QuVIS also provides digital cinema server equipment to commercial movie theaters in the United States. R & D QuVIS nationalism simulations motion pictures research and development war satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and QuVIS military, and digital cinema nationalism, and digital cinema Hollywood, and military military, and Hollywood Hollywood, and digital movies QuVIS, and digital cinema military, and sensors sensors aeronautics and space communication satellites, and digital cinema digital cinema, and satellites Bounce, and digital transmission military, and simulations simulations, and military Hollywood, and simulations simulations, and Hollywood QuVIS Introduces QuBit ST 2.1 and QuClips Express to Military Community 3380 QuVIS Raises the Curtain on Digital Cinema Technology at NIST
Jan. 9, 2001
Jan. 4, 2003 (4:00 p.m.) http://www.quvis.com/news/pressreleases/010901_NIST.htm See filed under "Digital Cinema -- Hollywood - Military" This article appeared in QVIS News and promotes the advantages of digital cinema. It notes that QuVIS will be demonstrating its new digital cinema recorder/server/player and Quality Priority Encoding compression technology at the National Institute of Standards and Technology (NIST) Jan. 11-12, 2001, at Gaithersburg, MD. R & D QuVIS nationalism motion pictures research and development war satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and QuVIS military, and digital cinema nationalism, and digital cinema Hollywood, and military military, and Hollywood Hollywood, and digital movies QuVIS, and digital cinema military, and sensors sensors digital standards digital standards, and Hollywood Hollywood, and digital standards military, and digital standards digital standards, and Hollywood aeronautics and space communication satellites, and digital cinema digital cinema, and satellites QuVIS Raises the Curtain on Digital Cinema Technology at NIST 3390 QuVIS Server Used in First-Ever Major Motion Picture Satellite Delivery and Digital Cinema Screening
Nov. 14, 2000
Jan. 4, 2003 (4:00 p.m.) http://www.quvis.com/news/pressreleases/111400_bounce.htm This article, which appeared in QVIS News, discusses the first digital transmission by satellite of a major motion picture. Miramax Films' movie Bounce was sent from Los Angeles to AMC Theatre in New York. In this endeavor, the article says that QuVIS joined with Miramax, Walt Disney Corporation, Boeing, Texas Instruments, EnergyDigital, and Williams Communication. R & D QuVIS QuVIS corporations corporations Boeing Corporation Texas Instruments Company motion pictures research and development war satellites Hollywood digital media digitization war motion pictures and popular culture digital cinema military communication nationalism and communication digital cinema, and Boeing QuVIS nationalism Hollywood, and military military, and Hollywood Hollywood, and digital movies QuVIS military, and sensors sensors digital standards digital standards, and Hollywood Hollywood, and digital standards military, and digital standards digital standards, and Hollywood aeronautics and space communication satellites digital cinema, and Boeing satellites Bounce, and digital transmission Disney, Walt digital cinema, and Boeing Walt Disney digital cinema, and Boeing Texas Instruments Company digital cinema, and Boeing QuVIS Server Used in First-Ever Major Motion Picture Satellite Delivery and Digital Cinema Screening 6680 Radio, Disk and Talking Film Join for Home Entertainment New York Times
June 28, 1931
XX 9 This article discusses some of the latest developments in home entertainment in 1931. The subtitle of the article reads: "Receiving Set, Phonograph and Reel Combined in Single Cabinet by Number of Manufacturers." home motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures home and new media motion pictures, and home home, and motion pictures home entertainment radio radio, and home home, and radio phonograph phonograph, and home home, and phonograph sound recording, and phonograph Radio, Disk and Talking Film Join for Home Entertainment 7240 Radio Moving Pictures New York Times
April 27, 1924
9 17 television, and history of radio television television, and origins Radio Moving Pictures 6620 Radio Show Revealed New Improvements New York Times
Nov. 9, 1924
XX 14 This article has a picture of “The Most Powerful Loudspeaker in the World.” The article's subtitle reads: "Elaborate Radio- Phonograph Machines Among Latest Styles Introduced." illustrations home home history electricity motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison home, and electricity electricity, and home electricity, and home entertainment sound recording motion pictures, and sound recording sound recording, and motion pictures loudspeakers sound recording, and loudspeakers illustrations illustrations, and loudspeakers loudspeakers, and illustrations Radio Show Revealed New Improvements 15020 The Rainbow in the Camera Chicago Daily Tribune
July 9, 1893
35 The subtitle to this article reads: "The Color Negatives Obtained by the Lippman Process." Lippmann process photography Lippmann process, and color photography color, and photography photography, and color photography and visual communication color color, and Lippmann process The Rainbow in the Camera 38470 Rapid Photographic Manipulation for Newspaper Illustration Scientific American
Jan. 23, 1904
90 4 63 This article recounts how the Newark Evening News covered a yacht race on Aug. 25, 1903, and using a Kodak camera took pictures which were then developed aboard ship in about ten minutes. The race finished at 11 a.m. The pictures, once developed, were attached to a carrier pigeon which flew them to the paper. By 3:45 p.m. "a half-tone plate was completed, by the usual half-tone process, placed on the press, and a few minutes later the paper appeared, containing a picture of the morning's yacht race." The article notes that using carrier pigeons got better results than "wireless telegraphy." wood engraving journalism journalism fame celebrity magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving presidents and new media photography, Kodak photography, and carrier pigeons photography, and telegraph telegraph, and photography American telegraph Rapid Photographic Manipulation for Newspaper Illustration 13930 Raps ‘Bolshevist’ Movie. Secretary Wilson Asks Officials to Bar Make-Believe Riots New York Times
April 19, 1919
6 This article reflects fears within the Woodrow Wilson administration of motion pictures supporting bolshevism. censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and capitalism capitalism, and motion pictures communism, and motion pictures motion pictures, and communism motion pictures, and bolshevism motion pictures, and Russia capitalism communism Raps ‘Bolshevist’ Movie. Secretary Wilson Asks Officials to Bar Make-Believe Riots 34540 Ratings and Classification Systems: Canadian Rating System for Home Videos Nov. 7, 2005 http://www.media-awareness.ca/english/resources/ratings_classification_systems/video_ratings/can_home_video_ratings.cfm The Canadian Rating and Classification System is the primary agency rating motion pictures, television programs, video grames, and other entertainment in Canada computers classification video cassette recorders (VCRs) self-regulation CARA magnetic recording censorship and ratings rating systems (non-USA) motion pictures media effects satellites videotape video games magnetic tape computers law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship non-USA Canada motion pictures television rating systems, and Canada Canada, and rating systems censorship, and Canada Canada, and censorship rating systems, and harmful effects media effects, and Canada videos, and Canada Canada, and videos rating systems, and videos (Canada) videos, and Canadian rating system video games, and Canadian rating system rating systems, and video games computers and the Internet computers, and Canadian rating system television, and Canadian rating system cable, and Canada cable, and Canadian rating system satellites, and Canadian rating system motion pictures, and rating systems (Canada) Canada, and motion pictures Canada, and television Canada, and video games Canada, and computer rating system cable VCRs Ratings and Classification Systems: Canadian Rating System for Home Videos 27470 Ratings for Video Games New York Times
Jan. 4, 1994
D (Financial) D11 This article deals with efforts to rate video games which were rapidly become a big business and already widely popular with youth. classification self-regulation CARA censorship and ratings media effects censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification video games rating system (U. S.), and video games video games, and rating system (U. S.) rating system (U. S.), and Software Publishers Association media effects, and video games children children, and video games children, and media Ratings for Video Games 14910 Read Bad Stories on Lips of Moving Picture Actors Chicago Daily Tribune
Jan. 12, 1913
A 1 The subtitle of this article reads: "Deaf and Dumb Children 'Hear" Conversation Not Meant for Public on Censored Films." children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures motion pictures, and deaf motion pictures, and language motion pictures, and profanity Read Bad Stories on Lips of Moving Picture Actors 22150 Reader's Digest
1960s-1980s
This magazine, oriented toward a mass audience, is interesting for many reasons. With regard to movies and pornography, critics of the movie industry such as Maine Senator Margaret Chase Smith used its pages to attack sex and violence in films. Later, critics of the 1970 Presidential Commission on Obscenity and Pornography attacked research that said erotica was not harmful and restrictions on it should be loosened. classification self-regulation CARA censorship and ratings rating system (U. S.) rating system (U. S.) sexuality motion pictures law censorship and rating system (U. S.) censorship classification motion pictures and popular culture pornography pornography, and critics Smith, Margaret Chase censorship censorship, and motion pictures rating system (U. S.), and motion pictures motion pictures, and censorship motion pictures, and rating system (U. S.) critics 29270 Reagan Signs Two Laws to Combat Pornography New York Times
June 27, 1969
42 This article notes that Governor Reagan signed two laws making it harder to peddle pornography to children. One established a separate standard for judging what is obscene for those under 18. The other incorporated a "pandering" concept in to advertising in cases involving obscenity. advertising and public relations children children, and pornography Reagan, Ronald, and child porn law obscenity law, and pandering law, and advertising advertising, and law law, and obscenity children, and obscenity Reagan, Ronald pornography sexuality Reagan, Ronald, and pornogrphy Reagan, Ronald, and student activists Reagan, Ronald, and drug abuse advertising Reagan administration children, and media Reagan Signs Two Laws to Combat Pornography 320 'Real War' and War As It Is The Independent
April 5, 1915
82 3461 5 This short article says that "we are now getting for the first time real pictures of real war." It is not the romantic, glamorous version given by artists and poets but "now stands revealed in all its dreary nakedness." Real war is "nine-tenths ... ninety-nine hundredths of it," is "mere ditch-digging, and firing at an invisible target and convalescing in the hospital and carting and being cheerful in adversity. "What the painters have palmed off upon us before the rise of photography is not real war, or at most, only a small part of it." photography motion pictures military communication motion pictures, and military military communication, and motion pictures war motion pictures, and war war, and motion pictures photography and visual communication war, and photography photography, and war motion pictures motion pictures, and war war, and motion pictures 'Real War' and War As It Is 13130 Record of Our Time to be Imperishable New York Times
Dec. 10, 1911
17 The Modern Historic Records Association, the article says, "employing the inventions of our age, purposes to preserve in imperishable form the record of history, heretofore 'writ on water,' in order that future generations may know the exact nature of our wisdom and our ignorance, our achievements and our failures." Alexander Konta, who helped organize this association, is quoted in this article as saying that moving pictures and the phonograph give us “a view taken from actual life….” He says that through these media “we may expect to live again for our descendants with a vividness and accuracy which could not be possible through the medium of the printed word alone.” Korda notes that "the problem of permanent storage is not so simple." He proposed a building to house records that would be safe from floods and earthquakes, one made of concrete with reinforced steel. Some of the records were to be "printed on hand-made vellum imported from Japan, and ... deposited in a glass vial, embedded in concrete...."
The subtitle of the article reads: "New Society Will Preserve History in Concrete for Peoples of the Future; Phonograph to be Used; Our Singers and Orator May Be Heard from Records Thousands of Years Hence." history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph Konta, Alexander, and historical preservation historical preservation, and Alexander Konta Modern Historic Records Association Edison, Thomas Record of Our Time to be Imperishable 40010 The Recording Tendency and What It Is Coming To Century Illustrated Magazine
Feb. 1897
53 4 634-35 This article laments that new methods of recording human experience means that increasingly trivial or unimportant events and people are being reported to the public. "It is under this reign of recording realism that dialect has been chased up into all its myriad variations. It is the insistence of the recording spirit that has brought not merely the ugly, but the loathsome, into the record. There has been a sort of religion of the commonplace, as well as a religion of the beastly, the putrescent, and the obscene." (634)
Changes in technology have made possible an explosion of cheap publications. "The processes of chemical engraving in the lower forms of the industry have been so cheapened, and ordinary printing is also so much less costly, that there is a glut in the manufacture of pictures, books, and all periodicals. It might at first be thought that the power to print must exceed the material for printing. But it has become evident that the quantity of matter that may be printed is quite sufficient to keep all the presses going; it is only in quality that there is any deficiency. The material for record is inexhaustible," the article says. (634)
The article continues: "As to the recording activity of the new journalism, its frantic attempts to keep pace with the passing human show have already arrived at the stage of epileptic contortion, partly for the reason that the material is endless.... The millions of John Joneses may thus supply the press with enough material to keep it busy; but there are tens of thousands of John Joneses who have become, to some extent, notorious or distinguished. Any day of their lives may furnish material for public record; if nothing else happens, they can at least give expression of an 'opinion.' (634)
"With the standard of intrinsic values lowered, with little or no selection, except a selection of the unfittest it is no wonder that the sensational press is getting to be the epileptic press, the general excuse for sensationalism being that happens may be printed. Of course, it is not true that anything that happens may be printed. The courts have a word to say about that, and there is a line drawn by the publishers and by the public, though sometimes the line is lost in the mire." (634)
The author concludes: "And as for the printing-press -- but that is settling itself; for the time is at hand when every man will be his own publisher, author, and editor, illustrating his own work with his own snap-shots. When this time actually arrives, every man will simply read his own writings in 'proof,' and no man will have time to read the writings of any other. Then we shall all begin again, and the art of selecting from the world's thought and doings what is really worthy of record and worthy of examination will once more be exalted among men." (635) journalism news and journalism critics critics, and newspapers critics, and journalism words vs. images images vs. words photography and visual communication journalism, and photography photography, and journalism journalism, and the trivial photography The Recording Tendency and What It Is Coming To 38070 Recording Vanishing Tongues The Independent
March 12, 1903
55 2832 639 This article notes that recently study of the phonograph as an instrument of science has started at universities. One use is to record "American dialects and aboriginal languages." It reports that "A standard instrument has been devised called the 'Archive Phonograph,' by which the record of two minutes' speech, taken on a flat wax disk, is made permanent and duplicable by depositing on it by electricity a think film of nickel." Expeditions have been sent to Croatia, Slavonia, Lesbos, and Brazil. history history and new media phonograph, and history history, and phonograph history, and sound recording sound recording, and history historical preservation sound recording, and phonograph sound recording, and historical preservation telephones electricity, and sound recording electricity, and phonograph electricity phonograph sound recording Recording Vanishing Tongues 13110 Records for Posterity New York Times
July 13, 1911
8 Alexander Konta wants a Modern Historic Records Association to preserve movies and phonograph recordings. This article notes the fragileness of some records such as paper (unlike Egyptian papyrus). history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph Konta, Alexander, and historical preservation historical preservation, and Alexander Konta Modern Historic Records Association Records for Posterity 18020 Records of the National Association of Theatre Owners (NATO) Boxes 1, 5, 6, 9, Mss 1446 This collection pertains to theater owners in the United States. It contains a good deal of information on the public's reactions to motion pictures. This collection is in Special Collections and Manuscripts, Harold B. Lee Library, Brigham Young University, Provo, UT. Utah -- Provo -- Brigham Young University -- Harold B. Lee Library audiences National Association of Theatre Owners (NATO) theaters National Association of Theatre Owners (NATO) theater owners archives motion pictures law censorship and ratings censorship audiences archives NATO theaters censorship, and NATO NATO, and censorship NATO audiences, and motion pictures motion pictures, and audiences theaters, and motion pictures theaters Records of the National Association of Theatre Owners (NATO) 2250 Records of the National Board of Review of Motion Pictures These records are good for the era before the creation of the Motion Picture Producers and Distributors Association and also for the period afterwards. But the records often have little on why the content of specific films was censored. This collection, though, is quite large as indicated by its finding aid: "The Records of the National Board of Review of Motion Pictures." A sampling of the material here includes: Box 7 (correspondence from 1929-39), Box 30 (Folder: "International Federation of Catholic Alumnae"), and Box 32 (has lists of books turned into films, as noted in The Library Journal, 1917, 1918, 1919, 1930, etc.). This material is locate at the Manuscripts and Archives Section, New York Public Library, New York, NY. archives law censorship and ratings censorship archives National Board of Review motion pictures and popular culture motion pictures motion pictures, and censorship censorship, and local censorship, and motion pictures Records of the National Board of Review of Motion Pictures 36350 Rector Attacks Decalogue Film: 'Ten Commandments' Called Fundamentalism at Worst in St. George's Service N ew York Times
Dec. 3, 1956
34 Making films abroad sometimes offered movie makers freedom to deal with topics in ways that might not have been possible in the United States. Cecil B. DeMille shot much of his epic film, The Ten Commandments, in Egypt where new movie making technologies such as 70mm film, CinemaScope, and VistaVision allowed him to emphasize the area’s spectacular settings. DeMille took inspiration from classical painters and paid much attention to the use of color in the film. In Egypt, DeMille found it possible to create, according to historian Peter Lev, “a level of sexual display scanty costumes and suggestive scenes which would have otherwise encountered censorship problems in the United States and many other countries,” concludes one film historian. There were other matters with which religious purists might have quarreled. DeMille’s movie dealt with thirty years of Moses’s life not chronicled in the Bible. And in it “emphasis on freedom and the blending of religious and political discourses,” it reflected contemporary American Cold War values. When Eric Johnston, president of the MPAA, negotiated a film exchange with the USSR in 1958, the Soviets declined to take this movie as part of the package.
This article nots that the Rev. Edward O. Miller, rector of St. George's Protestant Episcopal Church in New York City, criticized the sensationalism in this film which he said failed to show the "thrilling, centuries-old struggle and yearning of mankind for moral uprightness." The movie shows God burning the Ten Commandments into the tablets of stone with "a sort of spiritual acetylene torch." Motion Picture Association of America (MPAA) Soviet Union Eisenhower administration , news motion pictures USSR non-USA motion pictures, and foreign markets motion pictures, and foreign policy Eisenhower, Dwight D. presidents and new media Eisenhower, Dwight D., and motion pictures MPAA Motion Picture Export Association Ten Commandments religion values motion pictures, and religion motion pictures, and values DeMille, Cecil motion pictures, and American-interest films hybrid films values Rector Attacks Decalogue Film: 'Ten Commandments' Called Fundamentalism at Worst in St. George's Service 41680 'Reflections and Comments' The Critic: A Weekly Review of Literature and the Arts
Feb. 22, 1896
25 731 123 In this review of Edwin Lawrence Godkin's Reflections and Comments (New York: C. Scribner's Sons, 1895), the reviewer comments on Godkin's essay on "Chromo-Civilization": In "Chromo-Civilization" we have a vivid picture of the results of a 'sentimental religion,' with its 'vague aspiration,' 'lachrymose sensibility' and lack of all that braces and fortifies character. Much the same lesson is conveyed in the essay entitled 'The Church and Good Conduct,' while in 'The Comparative Morality of Nations' the author discusses the specific differentiation of that which we call the normal ethical type...." (123) metaphors emotion decadence color in literature color, and research on color color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations censorship and ratings media effects color, media effects media effects, and color color, and sensuality sexuality color, and sexuality sexuality, and color chromo-civilization color, and chromo-civilization metaphors, and color as green fruit color, as intellectual green fruit Godkin, E. L., and chromo-civilization chromo-civilization, and E. L. Godkin news and journalism journalism, and E. L. Godkin journalism 'Reflections and Comments' 38980 Reforming the Theater Congregationalist
Dec. 5, 1895
80 49 879-80 This article states that in late 1895, Boston had nine playhouses and that 9,000 people attended plays each day and perhaps 54,000 attended in a typical week. (879) It goes on to say that "the present condition of the theater is, as a whole, demoralizing," and that during the past two years "the moral decadence of the theater has been startling." It quotes the dramatic critic H. A. Clapp as calling it a "'brainless theater.'" (879) Most Christian churches oppose the theater, the article claims. "The confessed demoralizing influence of the theater has kept the majority of Christian churches opposed to it as an institution, and that is their position today. Yet the playhouse is not now more positively antagonized by the churches than was the novel in the early part of this century; and now, while immoral and intellectually debasing stories have an immense circulation, novels fill our Sunday school libraries and the high and powerful mission of fiction is discussed freely in our churches, novelists themselves being invited to set forth the relation of their work to the life of the spirit." (880) theaters stars (actors) theater stage literature fame celebrity anti-theatrical bias critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality magazines theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality theater, and degenerate modernity modernity, and theater religion religion, and live theater stage and theaters, and number of theaters theaters, and number of live stage audiences audiences, and theater audiences, and live theater attendance religion, and antitheatrical bias literature, and morality values, and modern literature theater, and modern literature morality, and modern literature values, and the novel censorship Reforming the Theater 13110 Regina v. Hicklin (1868) 1868 The English case, Regina v. Hicklin (1868), held material to be obscene if its “tendency” was “to deprave and corrupt those whose minds are open to immoral influences.” American courts and legislatures accepted this ruling, which sought to protect society’s weakest members. The courts used Regina v. Hicklin to repress all manner of material. The United States Supreme Court discarded Hicklin in a 1957 ruling on two cases, Roth v. United States and Alberts v. California. values religion archives obscenity law censorship and ratings censorship non-USA law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Great Britain, and motion pictures motion pictures, and Great Britain court cases court cases, Great Britain court cases, obscenity motion pictures, foreign censorship censorship, Great Britain censorship, and Great Britain obscenity, and British censorship Great Britain Regina v. Hicklin 24550 Religion Briefs: Billy Graham Says He Will Not See "Last Temptation," Calls It Sacrilegious Los Angeles Times
Sept. 17, 1988
2 (Metro) 7 This article reports that the Rev. Billy Graham will not see the movie The Last Temptation of Christ (1988). "I do not plan to see the film but will not take overt boycotting action by demonstrating in front of a theater that may be showing it," the evangelist said. corporations corporations values Christianity advertising, and public relations Universal Pictures propaganda advertising Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill public relations public relations, and Last Temptation Last Temptation, and public relations Last Temptation, and marketing strategies Graham, Billy, and Last Temptation Last Temptation, and Billy Graham Last Temptation, and Mother Teresa critics Religion Briefs: Billy Graham Says He Will Not See "Last Temptation," Calls It Sacrilegious 30420 Report on 8mm American Cinematographer
April, 1963
44 4 224, 237 This article notes that the demand for 8mm film predicted two or three years earlier had not materialilzed by 1963 and it attempts to explain why this is so. It notes that the Calvin Company marketed an 8mm projector during the early 1950s and that more than 1,000 projectors were sold. Interest in 8mm increased in 1960 with the introduction of a half dozen 8mm magnetic sound projectors. 8mm 8mm, and sound recording sound recording sound recording, and 8mm film cameras, and 8mm 8mm, and projectors 8mm, and cameras cinematography cameras motion pictures Report on 8mm 5770 The Reproductions Encyclopedia: Fourth Edition - 1965 New York Wolf Business Publication
1965
This industry publication has information about the growth of duplicating technologies, especially during the 1960s. “Replicating, which was practically nonexistent 35 or 40 years ago, is now the most dramatic and exciting growth area in the graphic arts," this work maintains. "In this short span of time, replicating has reached true industrial status. It has developed its own processes, technologies, equipment and materials. It has trained a complete set of management and technical personnel to make itself functional. And most significant -- it has developed its own specialized market."
The encyclopedia divides replicating into two primary divisions: copying and duplicating. labor communication revolution communication revolution home, and new media home duplicating technologies office, and information technology home, and information technology information technology graphics revolution duplicating technologies photocopying graphics revolution (1960s) information technology, and office information technology, and home office The Reproductions Encyclopedia: Fourth Edition - 1965 42320 The Restless Age The Independent
June 16, 1904
56 2898 1399-1400 Steam power and electricity, said this editorial in The Independent in 1904, had helped to increase “mobility, … infinitely varied opportunity,” the “contact of mind with mind,” and create a “restless” (1399) era that called for “a new moral education.” This call for a “new … education” brings to mind Henry Adams commentary in his autobiography on the impact of the dynamo, or electricity.
The editorial reads in part: "This is a 'restless' age, and why? Because, in the first place, it is an age in which a marvelous economic prosperity has created an astounding concentration of population. Altho birth rates are diminishing throughout the civilized world, the death rates are falling even more rapidly, and the multiplication of human beings since the beginning of the nineteenth century has been, as the English statistician Lonstaff remarks, 'A phenomenon absolutely unique in history.' Industrial evolution, which has made it possible for a relatively small part of the population to supply food and raw material to a relatively large part, has stimulated the growth of great cities and manufacturing towns. Steam and electricity have made possible a mobility of human beings and a development of communication among them not less amazing than the growth of population itself.
"Now, mobility and communication are necessarily disintegrating. In modern society they are combined with a multiplication of opportunities. One immediate consequence is that while great urban aggregations of population continually grow larger, the individuals composing them are continually arriving and departing....
"We live, then, in a 'restless age because of mobility, of communication, of infinitely varied opportunity, of contact of mind with mind. These conditions have come to stay. We shall not go back to the age of the narrow and sheltered life, of humdrum and stupidity. Efforts to create social stability in the sense of unchanging individual relations are foredoomed to fail. All that we can hope to accomplish is to convert mere restlessness into systematized and progressive activity." (1399) progress electricity transportation transportation, and steam power steam power, and transportation electricity, and transportation transportation, and electricity electricity, and electricity, and Christianity education education, and electricity electricity, and education values religion religion, and electricity values, and electricity electricity, and values electricity, and religion modernity electricity, and modernity modernity, and electricity modernity, and steam power electricity, and mobility modernity, and mobility modernity, and cities steam power, and mobility modernity, and progress progress, and modernity progress, and electricity electricity, and progress steam power The Restless Age 2440 A Retrospective Technology Assessment: Submarine Telegraphy: The Transatlantic Cable of 1866 San Francisco San Francisco Press, Inc.
1979
This work has several conclusions about the importance of the transatlantic cable, among them: “In military strategy, submarine telegraphy reinforced the importance of naval power.” It was easier for a nation to be in a state of continued readiness and to mobilize on short notice. It enhanced propaganda, spying, military intelligence, transportation, among other influences.
“The most subtle but perhaps also one of the most important impacts of rapid communications was the general change in the perception of time. For the first time, it became significant that dawn in one country was midday, or midnight, in another. The ability to intervene in events occurring at a great distance, while they were still unfolding, created both opportunity and anxiety, and the pace of society -- and of personal life itself -- seemed to speed up. The simplest institutional response was the creation of international standards of time measurement and time zones. More generally, institutional response was a state of constant readiness to respond and react to distant events.” U. S. Navy R & D nationalism time and timekeeping time public relations advertising war military communication research and development government war non-USA transportation reconnaissance propaganda nationalism and communication telegraph telegraph, transatlantic military communication telegraph, and naval power telegraph, and propaganda propaganda, and submarine telegraphy reconnaissance, and submarine telegraphy telegraph, and reconnaissance telegraph, and military intelligence transportation, and submarine telegraphy time telegraph, and transportation telegraph, and time cable, transatlantic U. S. Navy, and submarine telegraphy cable, Atlantic cable advertising and public relations A Retrospective Technology Assessment: Submarine Telegraphy: The Transatlantic Cable of 1866 21140 Revised Code -- Approved Pix Up First 6 Months of 68 Variety
July 2, 1968
This article discusses to revive the Production Code. The movie industry adopted a rating system in November, 1968. self-regulation Production Code PCA motion pictures, and sexuality sexuality sexuality sex values Production Code (motion pictures) motion pictures media effects media violence violence values religion law censorship and ratings motion pictures and popular culture Production Code (motion pictures) Production Code Administration (PCA) Production Code, and decline of motion pictures, and censorship censorship censorship, and motion pictures violence, and motion pictures motion pictures, and violence sex, and motion pictures motion pictures, and sex Revised Code -- Approved Pix Up First 6 Months of 68 42160 A Revolution in Printing Scientific American
Sept. 20, 1890
63 12 176 By 1890, several New York newspapers including the Times, Sun, Herald, and World had installed Rogers and Mergenthaler typesetting machines. Century magazine also soon adopted the machinery as did a syndicate of New York book publishers. The syndicate planned to use 50 to 100 typesetting machines to produce “all the body matter of cheap publications” and it expected to double its annual output of novels, cutting their price in half. woodcuts wood engraving magazines linotype magazines, and illustrations news and journalism illustrations, and journalism journalism, and illustrations illustrations, and newspapers newspapers, and illustrations magazines, and illustrations illustrations, and magazines illustrations, and wood engraving wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving journalism, and presses newspapers, and presses stereotyping presses presses, and rotary books, periodicals, newspapers newspapers, and woodcuts materials materials, and paper newspapers, and paper American illustrations, and rotary presses illustrations, and cylinder presses woodcuts, and cylinder presses cylinder presses, and woodcuts presses, and stop cylinder illustrations, and stop cylinder press magazines, and ink illustrations, and ink printing printing, and hand setting type magazines, and typesetting printing, and typesetting presses, and web press printing, and web press freedom freedom, and printing processes newspaper, and typesetting newspapers, and linotype linotype, and newspapers linotype, and magazines magazines, and linotype books, and linotype linotype, and cheap novels books illustrations journalism print A Revolution in Printing 39720 Right of Privacy: New York Court of Appeals Albany Law Journal
Sept. 1902
64 9 319-28 This article is good in that it cites several cases and writings pertaining to "right of privacy" prior to 1902. The author attempts to show "that the right of privacy as a legal doctrine enforceable in equity has not, down to this time [1902], been established by decisions." (321) The author comments on the origins of this phrase: "The history of the phrase 'right of privacy' in this country seems to have begun in 1890, in a clever article in the Harvard Law Review -- already referred to -- in which a number of English cases were analyzed, and, reasoning by analogy, the conclusion was reached that -- notwithstanding the unanimity of the courts in resting their decisions upon property rights in cases where publication is prevented by injunction -- in reality such prevention was due to the necessity of affording protection to thoughts and sentiments expressed through the medium of writing, printing and the arts, which is like the right not to be assaulted or beaten; in other words, that the principle, actually involved though not always appreciated, was that of an inviolate personality, not that of private property." (321)
The article notes that a response this article in the Harvard Law Review (by Samuel Warren and Louis Brandeis) appeared in the Northwestern Review (vol. 3, p. 1). It then discusses several English cases cited by Warren and Brandeis to see if they marked "a departure from the established rule which had been enforced for generations...." (321) law privacy law, and privacy law, and motion pictures photography and visual communication photography, and privacy privacy, and photography court cases court cases, and privacy privacy, and court cases home and new media home, and privacy privacy, and home advertising and public relations advertising, and privacy privacy, and advertising privacy, and Samuel Warren advertising home photography Right of Privacy: New York Court of Appeals 26970 Ritter Probe Ends Christian Century
May 9, 1990
107 487 This article deals with the investigation into charges of sexual misconduct against Father Bruce Ritter, who had been a member of the Meese Commission. sexuality pornography Meese Commission Ritter, Bruce Covenant House, and Bruce Ritter Ritter, Bruce, and pornography pornography, and Bruce Ritter Meese Commission, and Bruce Ritter Ritter Probe Ends 26980 Ritter Resigns Christian Century
Mar. 14, 1990
107 273 This article deals with Father Bruce Ritter's resignation from Covenant House following a sex scandal. sexuality pornography Meese Commission Ritter, Bruce Covenant House, and Bruce Ritter Ritter, Bruce, and pornography pornography, and Bruce Ritter Meese Commission, and Bruce Ritter Ritter Resigns 13580 Roanoke (VA) News
June 21, 1929
Statistician Roger Babson quoted on movies as a cause of crime. motion pictures and popular culture motion pictures motion pictures, and crime Roanoke (VA) News 36500 Rocco and His Brothers (aka Rocco et ses frères;Rocco e i suoi fratelli) Luchino Visconti Astor Pictures
1961
This movie opened in New York City on June 27, 1961, and was one of several foreign films that dealt with themes that were outside Hollywood's Production Code as it was written in 1930. For example, prostitution and homosexuality were subjects that had been permitted with qualifications when the Code was revised in 1956 and 1961 respectively.
Plot summary from American Film Institute Catalog: "Searching for a better life, Rosaria Parondi and her sons [H]Rocco, Simone, Ciro, and Luca, arrive in Milan from their impoverished farm in southern Italy. Recently widowed, Rosaria has come uninvited to join her oldest son, Vincenzo. Although not steadily employed, Vincenzo is engaged to Ginetta, the daughter of a middle-class family, but the engagement causes a rift with Rosaria, and Vincenzo leaves Milan with his fiancée. The Parondis move into a working-class section of the city and begin to experience the difficulties of city life and the pressure of unemployment. Simone, the most ambitious of the brothers, makes a name for himself as a prizefighter and takes Nadia, a disillusioned prostitute, as his mistress; but when he becomes possessive, Nadia tires of him and leaves. Eventually, Rocco is called into military service, and one day he sees Nadia, recently released from prison; the gentleness of Rocco awakens a new hope in her, and she promises to begin a new life. Upon returning to Milan, they find that Ciro has started to work at the Alfa Romeo auto factory and is supporting the family, while Vincenzo and Ginetta have returned to the city. Simone, who has turned to petty crime, learns that Rocco and Nadia are lovers and decides to take revenge. He brutally rapes Nadia while a group of fellow hoodlums forces Rocco to watch. Blaming himself for his brother's despair, Rocco persuades Nadia to return to Simone. Rocco, unable to find employment, enters professional boxing and goes to live with Vincenzo and Ginetta. Simone, evicted from his hotel, goes back to his mother, taking Nadia with him, but Nadia has returned to her former ways, and Rosaria soon throws her out. At the depths of despair, Simone cajoles money from his brothers and cavorts with his homosexual boxing patron, whom he robs. Rocco then signs a 10-year boxing contract in order to repay Simone's patron. The same day that Rocco wins his first fight, Simone finds Nadia, and when she rejects him again, he stabs her to death. At the family celebration of Rocco's victory, Simone confesses to Nadia's murder. The family, though shocked and grief-stricken, tries to protect Simone, but Ciro turns him over to the police. Luca, the youngest brother, cannot understand this act of betrayal; Ciro, now ostracized by the family, explains that Simone was doomed and that all of them were responsible. As he leaves his little brother, Ciro hopes that Luca, the only one still uncorrupted by city life, will return to the country where the Parondis' roots still lie."
The movies was filmed on location in Milan and Rome. Opened in Rome in Oct 1960 as Rocco e i suoi fratelli; running time: 180 min; in Paris in Mar 1961 as Rocco et ses frères; running time: 165 min. One French source lists a 120 min version. Cocinor, a French production company affiliated with Marceau, is credited as co-producer in French sources. The production company was Titanus; Les Films Marceau. censorship self-regulation motion pictures, and sexuality sexuality foreign films, and sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality motion pictures, and foreign films foreign films foreign films, and homosexuality non-USA France France, and motion pictures motion pictures, and France Rocco and His Brothers (aka Rocco et ses frères;Rocco e i suoi fratelli) 13570 Rochester (NY) Journal
June 27, 1929
Statistician Roger Babson quotes on movies as a cause of crime. motion pictures and popular culture motion pictures motion pictures, and crime Rochester (NY) Journal 17250 Rogue
1950s, 1960s
This publication was among the male-oriented magazines that featured nude and semi-nude pictures of women during the 1950s and 1960s. These magazines often took advantages of recent developments in camera technology. magazines sexuality pornography obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity 29910 The Role of Kodak in Documenting the Space Program American Cinematographer
Oct., 1969
50 10 988-90 This article notes that Eastman Kodak not only recorded man's first trip to the moon in Apollo 11 but before that Kodak photography systems had covered five unmanned Lunar Obiter missions. Every manned space flight since John Glenn's Feb. 20, 1962, flight into space, had used film made in Rochester, NY. The article discusses the use of color film in covering the Apollo 11 landing in 1969. National Aeronautics and Space Administration (NASA) corporations corporations cinematography aeronautics and space communication color photography photography, and space flights NASA color, and space photography Apollo 11 color, and Apollo 11 Eastman Kodak Kodak Eastman Kodak, and space photography photography, and moon missions motion pictures The Role of Kodak in Documenting the Space Program 38310 Roosevelt -- In the Movies McClure's Magazine
Feb. 1919
51 2 30-31 This article discusses a new film which is a biography of Theodore Roosevelt. "The biographical photoplay is a new and intensely interesting development of the cinema art," it says. And this moving picture bring Roosevelt "into almost personal intimacy with every family in the land." (30) [emphasis added] The article goes on to say that "as the human and appealing Roosevelt picture flashes across the screen, one drinks in the entertainment and the impressive scenes, without giving much thought to the mechanics of the film.
"Yet, almost as interesting as the picture itself is the story of the way the material was gotten together so that Colonel Roosevelt as a living, breathing personality might flash before the moving picture audiences of the world." (31) The article goes on to say that the film is accurate in historical detail and it discusses the actors chosen to play Roosevelt, William McKinley, and John Hay. [emphasis added] The article's subtitle reads: "The Greatest Film of the Year." (31) nationalism journalism history celebrity photography motion pictures history and new media motion pictures, and history history, and motion pictures Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures presidents and new media photography and visual communication personality personality, and motion pictures motion pictures, and personality celebrity culture McKinley, William McKinley, William, and motion pictures motion pictures, and William McKinley actors acting Roosevelt -- In the Movies 16060 Roth v. United States. 354 U. S. 476 (1957) 1957 This case, together with the Alberts v. California case decided the same year, changed the Supreme Court's interpretion of obscenity, one that earlier had been defined by the Hicklin case. Henceforth, it became much hard for prosecutors to convict people for obscenity. Samuel Roth was convicted for mailing Wild Passion, Wanton by Night, and Sexual Content of Men and Women. Well-known for distributing such material, he had earlier convictions for obscenity. His appeal came at the same time as that of David Alberts, convicted in California for selling obscene literature. While the U. S. Supreme Court upheld the convictions of Roth and Alberts, and stated that obscenity was not protected by the First Amendment, it nevertheless changed fundamentally the way in which it dealt with obscenity cases. What became known as the Roth test became the foundation of American obscenity law. Obscenity would be “whether to the average person, applying contemporary community standards, the dominant theme of the material taken as a whole appeals to the prurient interest.” In delivering the opinion in Roth, Justice William J. Brennan, Jr. said that “all ideas having even the slightest redeeming social importance... have the full protection” of the First Amendment, unless “they encroach upon the limited area of more important interests.” Justice Douglas, who joined by Hugo L. Black in dissenting in both Roth and Alberts, went farther. He argued that the First Amendment protected literary treatment of sex even if it offended “the common conscience of the community.” U. S. Supreme Court self-regulation Roth case (1957) Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives obscenity values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom court cases, and harmful Roth v. U. S. (1957) court cases, and Roth obscenity, and Supreme Court (U. S.), and Roth v. U. S. (1957) motion pictures, and obscenity obscenity, and motion pictures obscenity, and Roth v. U. S. (1957) Alberts case Roth v. United States. 36060 Russians Reject Film On Ten Commandments New York Times
Oct. 24, 1958
38 In 1958, Eric Johnston, president of the MPAA, negotiated a deal with Soviet Premeir Nikita Khrushchev to exchange films. Cecil B. DeMille's movie The Ten Commandments was shown to a Russian audience but the Soviets rejected the movie as one of those to part of the exhange between the two countries. Motion Picture Association of America (MPAA) Soviet Union Khrushchev, Nikita Eisenhower administration , news motion pictures USSR non-USA motion pictures, and foreign markets motion pictures, and foreign policy Eisenhower, Dwight D. presidents and new media Eisenhower, Dwight D., and motion pictures Johnston, Eric Johnston, Eric, and USSR MPAA Motion Picture Export Association Khruschchev, Nikita, and motion pictures motion pictures, and Nikita Khruschchev Ten Commandments religion values motion pictures, and religion motion pictures, and values DeMille, Cecil motion pictures, and American-interest films hybrid films Russians Reject Film On Ten Commandments 14560 Sabbath Champions Rap New Sunday Law New York Times
Jan. 9, 1908
8 The subtitle of this article reads: "Meeting Condemns Aldermen for Passing ‘Contradictory’ Ordinance and Criticises [sic] Judges; To Appeal to the Mayor." censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and Sunday movies motion pictures, and blue laws censorship, and blue laws motion pictures, and New York New York, and motion pictures censorship, and critics critics critics, and censorship motion pictures, and class religion religion, and motion pictures motion pictures, and religion Sabbath Champions Rap New Sunday Law 13700 Saloon Pictures Must Be Pure, Too; Police Who Are Busy ‘Suppressing’ Immoral Postcards Say So Chicago Daily Tribune
Sept. 15, 1907
A 3 This article discusses the effort to eliminate "immoral" postcards. The article's subtitle reports: "‘Activity’ Is Kept Up. Sleuths’ Report Shows One Shop Display Censored in the Last Month." stage post office postal service French postcards eroticism Chicago, IL censorship postcards censorship censorship, and French postcards French postcards, and censorship censorship and ratings sexuality postcards, and sexuality sexuality, and French postcards nationalism and communication postcards, and nationalism nationalism, and postcards non-USA France motion pictures, and French influence stage and theaters, and French influence France, and postcards in U.S. religion religion, and postcards postcards, and religion non-USA non-USA, and French postcards values immorality values, and French postcards immorality, and French postcards French postcards, in U.S.. eroticism, and French postcards motion pictures values, and motion pictures motion pictures, and values motion pictures, and French postcards saloons values, and saloons immorality, and saloons motion pictures, and Chicago Chicago, and motion pictures nationalism Saloon Pictures Must Be Pure, Too; Police Who Are Busy ‘Suppressing’ Immoral Postcards Say So 17200 Saturday Evening Post
1949 (late 1940s)
Color was used in magazine advertising thoughout the twentieth century. During the late 1940s, the Saturday Evening Post has many examples of color advertising. advertising, and public relations propaganda public relations news and journalism books, periodicals, newspapers books, periodicals, newspapers color color, and magazines magazines, and color advertising, and color color, and advertising advertising magazines 29470 Saving Private Ryan Steven Spielberg
1998
motion pictures and popular culture censorship and ratings digitization censorship, and digitization digitization, and censorship V-chip television motion pictures, and digital filters violence Spielberg, Steven war World War II motion pictures, and World War II digital media digital cinema motion pictures self-regulation censorship Saving Private Ryan 7280 Science in Germany Nature
Dec. 9, 1875
13 112 non-USA television, and history of television television, and origins Germany Germany, and television television, and Germany Science in Germany 40050 Science Lays Bare the Mystery of Color Current Opinion
Aug. 1, 1923
219-20 This piece reports on the theoretical work of Professor Christine Ladd-Franklin at Columbia University. Ernest Brennecke has written about her earlier in World Magazine. "The Ladd-Franklin theory, simply stated, is that there have been in the evolution of life on our planet three stages in the development of color-vision. The first is the black-and-white stage: Living things learned to distinguish between light and darkness and saw the world, but not in color. In the second stage, the longer light-rays gave the sensation of blue and the shorter rays yellow. In the third, the longer yellow rays began to look red and the shorter yellow rays green...." (219) color color, and theory color, and Ladd-Franklin theory Science Lays Bare the Mystery of Color 16100 Science Notes Los Angeles Times
July 16, 1907
II 4 This article touches on ways that moving pictures are used to advance science. science motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures Science Notes 3720 Scientific American New York Scientific American, Inc.
Sept. 1977
237 No. 3 This issue of Scientific American is devoted to assessing the significance of microelectronics. It includes the following articles: Robert N. Noyce, "Microelectronics"; James D. Meindl, "Microelectronic Circuit Elements"; William C. Holton, "The Large-Scale Integration of Microelectronic Circuits"; William G. Oldham, "The Fabrication of Microelectronic Circuits"; David A. Hodges, "Microelectronic Memories"; Hoo-Min D. Toong, "Microprocessors"; Lewis M. Terman, "The Role of Microelectronics in Data Processing"; Bernard M. Oliver, "The Role of Microelectronics in Instrumentation and Control"; John S. Mayo, "The Role of Microelectronics in Communication"; Carver A. Mead, "Microelectronics and Computer Science"; Alan C. Kay, "Microelectronics and the Personal Computer." computers microprocessing preservation communication revolution second industrial revolution communication revolution archives history, and new media history, and new media communication revolution, and second industrial revolution history computers and the Internet computers, personal computers microelectronics libraries libraries, and information storage information storage information storage information processing Information Age history computers and the Internet personal computers computers, personal microelectronics revolution communication revolution second industrial revolution microprocessors information processing, and computers history, and microelectronics revolution information storage, and microelectronics history, break with 4520 Scientific American New York Scientific American, Inc.
March 1997
276 no. 3 This issue has a number of short articles on "The Internet: Bringing Order from Chaos." The articles include: Clifford Lynch, "Searching the Internet'; Michael Lesk, "Going Digital," on the advantages and difficulties of electronic libraries; Paul Resnick, "Filtering Information on the Internet"; Marti A. Hearst, "Interfaces for Searching the Web"; and Brewster Kahle, "Preserving the Internet," on archiving material from the World Wide Web. computers archives digitization law censorship and ratings libraries libraries, and information storage information storage information storage Information Age computers and the Internet digital technology digital media information storage information storage censorship censorship, and Internet electronic preservation libraries, electronic world wide web information processing digital media electronic media information storage, and World Wide Web World Wide Web, and information storage Internet 14800 Scores Movie Crime Films; Pinkerton Sounds Warning Los Angeles Times
June 18, 1914
II 5 William A. Pinkerton says that movie scenes have more powerful effect on children than written stories. “'The moving picture has become a mode of instruction, as well as a form of entertainment," Pinkerson said in an address before the Association of Chiefs of Police. "'Its appeal is universal and its achievements wonderful. Within its province lies a dangerous power for evil that cannot be too seriously considered. A written story of crime and human frailty may pass from memory, but a picture delineation is apt to remain. Like an anecdote in a speech, which a hearer remembers long after the subject and words of the speaker have flown, the pictured scenes of evil deeds adhere to the mind like shadows to the sun. But take a serial picture of sordid crime, what good purpose can any normal, unselfish person expect them to serve? To the rough and weak and ignorant it is like throwing more fuel upon a fire already hard to control.
"'I am so deeply impressed with the educational value of the moving picture, and so partial to its realistic entertainment, I cannot refrain from calling attention to these corrupting influences.'"
In this story, "Pinkerton Declares Moving Pictures Should Be Strictly Censored to Prevent Displays Depicting Crime and Holding Authority of Low Up to Ridicule," according to a subtitle. children censorship words vs. images motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and crime images vs. words education motion pictures, and education education, and motion pictures motion pictures, and class Scores Movie Crime Films; Pinkerton Sounds Warning 42100 Seals Up Wilson's Smile. Historical Record on Film Not to be Opened for 100 Years New York Times
Dec. 5, 1913
20 This article says that the Modern Historical Records Association (William Howard Taft was the honorary president) presented a special film "which gave a complete record of the facial expression of President Wilson, concluding with his broadest smile." It was presented to the New York Public Library which planned to seal the film in an airtight, watertight, and fireproof container and put it into its vault, not to be opened for 100 years. Alexander Konta, founder of the Modern Historical Records Association, accepted the film. Also to be played in 100 years are phonographs of Thomas Edison talking and of leading opera singers of the day. history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph Konta, Alexander, and historical preservation historical preservation, and Alexander Konta Modern Historic Records Association paper materials, and paper paper, and historical preservation historical preservation, and paper parchment materials, and parchment Modern Historical Records Association motion pictures, and personality motion pictures, and magnified personality personality, magnified by film Wilson, Woodrow presidents and new media Edison, Thomas, and phonograph Edison, Thomas personality personality, and magnification of Seals Up Wilson's Smile. Historical Record on Film Not to be Opened for 100 Years 15570 The Seamy Side: A Story of the True Condition of Things Theatrical: By One Who Has Spent Twenty Years Among Them Boston Percy Ives Publishing, Co.
1906
In this book -- the author is unnamed an often writes in the third person -- offers a condemnation of the corrosive effects that commercialization was having on acting and on actors. The author found the typical professional actress "A cold, unsympathetic, bitter, calloused, calculating woman" who had become "this petted, envied servant of the public...." "She had started out upon her career with quite a degree of talent and an abnormal amount of ambition. She had attained heights which apparently satisfied ambition, and yet this is what it had done for her. Could she be happy even if she knew nothing of the discomforts luxury cannot alleviate? She had not one of the elements of happiness in her character, as it was dwarfed and twisted then, and she still suffered in a dull, dead, apathetic way that even the old vent to hysteria did not relieve.
"It was when I finally did secure another engagement (not so hard a task now, as my association with 'big people' made me seem of value to lesser ones) I found, as I have already stated, that Miram [this actress] stood only as a type of almost hundred I came daily to know. I might change companies, management, but seldom, if ever, conditions...." (272)
The author warns of dangers to both young women and men who enter the profession. "Just here I wish to say although I have dedicated this book to young women, it is only too true that they are not alone persecuted nor morally endangered by the conditions of this profession. Boyish young fellows entering such an environment are easy prey to women whose years, sometimes, almost double theirs, and who, through drink or morphine, present so pitiful a spectacle that they young man's sympathy is aroused, and through a beginning of kindly solicitude, he is soon the abject slave of the sensual, debauched creature he may have tried to help. I have in mind just such a case of a beautiful woman not yet in her fortieth year...." (273)
The author concludes. "How bitterly cruel that all this is true, I have said to myself again and again. No more beautiful art exists than that of characterization and story 'embracing' as Charlotte Cushman has ably said: 'In its exposition all other arts combined, music, dancing, color, and even sculpture in its poses and form.' Yet to-day it stands upon the very last foundation it should ever, by any stretch of the imagination occupy -- Commercialism. [emphasis in original text] (291)
"Will a play or an actor draw? That is the only consideration. Never, is the play a literary achievement, a beautiful story, or an ethical study? Nor is the act a man of experience, of natural talent who can be relied upon to bring out all that is best of the author's thoughts. Is it a money maker? Is he a good card? There are the things that count in the estimation of the men who rule things theatrical.
"'What kind of house did you have?' one actor asks another. Seldom indeed, 'What kind of performance did you give?'...." (291)
The author sees newspaper and magazines as willing participants in the effort to make "stars" out of actors and all too eager to accept, uncritically, material from press agents. "Let me not be misunderstood as blaming the newspaper and magazines for the very misleading statements which they print daily, weekly, monthly in their stage items. These articles are usually supplied them by press agents in the employ of the various managers, and as we could scarcely expect an editor to take the time personally to investigate these stories he is truly at the mercy of the one who 299/300 gives him the news. If the press agent chooses to write a column prevaricating about a prominent person, so long as it has the celebrity's sanction, the editor is not called upon to interfere. Flattery and adulation were never known to have been the grounds for a libel suit, so that no risk is run, either, in printing such untruths. Yet this attitude of the press unconsciously constitutes he whole thing a great, enticing honey pot to poor ambitious little flies, although the intention ma be only the advertising of a certain line of goods. Nevertheless, human nature is imitative, and we are all seeking the good things of life; so if we read constantly of lives of apparently one long Elysian feast we are apt to want some of the dainties. (299-300)
"That these magazine and paper stories do not always hand together is scarcely ever taken into account by the public. A certain manager of a very well-known and firmly established star, sends out annually a new and altogether different version of her wonderful rise to fame and the manner in which she first obtained a hearing...." (300)
The author speaks "out against a system that was robbing women of their purity." (312) He, or she, concludes: "If you saw the stream of young men and women daily, yearly rushing toward this luring siren, only to be swallowed up in the vortex as I have seen them, your very soul would cry out and demand a half; and I have hoped in every line I have written that the serious minded will believe me, who has been in the pit, and avoid the pitfall.
"If this book saves one aspiring soul from Miriam's fate or even mine, it will not have been written in vain." (312) theaters stars (actors) theater public relations press agents journalism fame entertainment, and journalism entertainment celebrity anti-theatrical bias critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality magazines theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality women women, and theater theater, and women critics critics, and actors critics, and theater critics, and professional acting motion pictures, and stars (origins) news and journalism actors, and journalism journalism, and actors actors, and newspapers newspapers, and actors magazines, and actors actors, and magazines fan magazines magazines, fan press agents, and actors actors, and press agents advertising and public relations actors, and public relations public relations, and actors false leaders false leaders, and actors actors, as false leaders entertainment, and news entertainment, and journalism journalism, and entertainment news, and entertainment celebrity culture, and journalism celebrity culture, and newspapers newspapers, and celebrity culture journalism, and celebrity culture censorship advertising audiences motion pictures news press The Seamy Side: A Story of the True Condition of Things Theatrical: By One Who Has Spent Twenty Years Among Them 39630 The Secret of Personality as Theodore Dreiser Reveals It Current Opinion
March 1919
66 3 175-76 This article summarizes and reprints excerpts from an early article that Theodore Dreiser published in Pearson's (New York). In the final analysis, according to Dreiser, personality seems "to be a sense of power resting on a feeling of wisdom and usefulness or right to be." (article's words, not Dreiser's) Dreiser believed that people were born with personality. Quoting from him: "'The truth is, all good things are gifts -- a voice, strength of body, vigor of mind, vision, the power to lead, as in war, any art, beauty, charm.'" (Dreiser quote, 175) This article maintains that "Mr. Dreiser welcomes the tendency in America to-day to emphasize personality rather than character." (175) Then quoting Dreiser again: "'Men do better once they realize their genuine limitations and cease reaching after the moon.'" (175) Intellect or knowledge alone does not make some people's personality strong but also (quoting Dreiser) "'the vital energy to apply them or the hypnotic power of attracting attention to them -- in other words, personality.'" fame celebrity celebrity culture celebrity, and newspapers personality personality, and newspapers newspapers, and personality fame, and newspapers newspapers, and fame newspapers, and stars photography and visual communication photography, and celebrity culture personality, and magnetism fame, and magnetism personality vs. character fame, and character Dreiser, Theodore personality, and Theodore Dreiser news and journalism photography The Secret of Personality as Theodore Dreiser Reveals It 630 See First Pictures Taken Under Water New York Times
Aug. 12, 1914
9 The subtitle of this article reads: "‘Movies’ Made Beneath Surface of Bahama Harbor Shown at Natural History Museum; Men Lowered in Big Globe; One of the Inventors Fought and Killed Man-Eating Shark in Front of Camera." motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space cameras cameras, and movement cameras, and portability motion pictures, and movement See First Pictures Taken Under Water 15750 See Plays by Machine New York Times
Sept. 7, 1903
1 This article reports that "While the Pictures Move a Phonograph Will Say the Lines." motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures phonograph phonograph, and motion pictures motion pictures, and phonograph motion pictures, and talking films (origins) See Plays by Machine 15970 See ‘Canning’ of Dramas Chicago Daily Tribune
Aug. 15, 1912
10 This article reports on the Motion Picture Exhibitors’ League of America visiting the Essanay Film Manufacturing company in Chicago. The subtitle of this article says: "Picture Men Visit Plants Where Films Are Made; Life Comedy Crops Out. Actors Talk of Colds and Quinine While ‘Speaking’." Chicago, IL motion pictures capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Chicago Chicago, and motion pictures See ‘Canning’ of Dramas 36140 Self-Policing of the Movie and Publishing Industry Hearing before the Subcommittee on Postal Operations of the Committee on Post Office and Civil Service, U. S. House of Representatives, Eighty-Sixth Congress, Second Session Feb. 2, 3, 4, and 5, 1960 (Washington, D.C.: Goverenment Printing Office, 1960) The subcommittee was chaired by U. S. Representative Kathryn E. Granahan (PA) and investigated the self-regulation policies of the motion picture and publishing industries. MPAA president Eric Johnston, PCA director Geoffrey Shurlock, and movie industry Advertising Code Administration director Gordon S. White, testified. Among the topics covered were the lack of regulation in the U. S. of foreign films, sensational or controversial themes in such movies as Suddenly, Last Summer and Advise and Consent (e.g., homosexuality), and the possibility of setting up a classification system for American films (Eric Johnston opposed such a plan). Motion Picture Association of America (MPAA) censorship self-regulation sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and homosexuality censorship, and homosexuality advertising and public relations Production Code, and advertising code advertising, and motion pictures motion pictures, and advertising White, Gordon, and movie advertising MPAA, and advertising MPAA, and Production Code critics critics, and motion pictures motion pictures, and foreign films motion pictures, and foreign markets audiences motion pictures, and audiences sexuality Production Code, and Appeals Board violence Production Code, and foreign films advertising children Self-Policing of the Movie and Publishing Industry 34900 Senate Unit Hits Violence in Films New York Times
March 27, 1956
37 Democratic Senator Estes Kefauver (D-TN) and the members of his subcommittee who were investigating possible links between the movies and juvenile delinquency, and concluded that violent films provided possible “trigger mechanisms” for some youth. Later, in December, 1956, Kefauver praised the revision of the motion picture Production Code which relax restrictions on showing narcotic abuse and kidnapping, and tightened restriction on brutality in films. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality Kefauver, Estes motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media Kefauver committee motion pictures, and juvenile delinquency Senate Unit Hits Violence in Films 15880 Send Greetings to Edison; Good Wishes Telephoned Across the Continent to Famous Inventor New York Times
Oct. 22, 1915
3 This article discusses "Edison Day" at the Panama-Pacific Exposition in San Francisco and the trans-continental telephone call made to Thomas Edison and his wife as part of the celebration. electricity lighting electricity, and telephones telephones telephones, and trans-continental Edison, Thomas Edison, Thomas, and lighting Edison, Thomas, and telephones Send Greetings to Edison; Good Wishes Telephoned Across the Continent to Famous Inventor 38160 Send Pictures by Telegraph Chicago Daily Tribune
Feb. 21, 1899
2 This article quotes Thomas Edison saying that he is working with the artist Homer Davenport to develop an instrument whereby photographs can be sent by telegraph wire. He also predicts that automobiles will be much more commonly used in the future but says that at present electric storage batteries are too heavy and impractical. telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph Edison, Thomas Edison, Thomas, and pictures by wire electricity, and storage batteries automobiles transportation transportation, and automobiles photography Send Pictures by Telegraph 910 Sending Photographs by Telegraph New York Times
Feb. 24, 1907
SM 7 This article talks about the "seeing telegraph" and sending photographs over telegraph lines. “Not long ago a poplar writer on electricity made this startling prediction of coming wonders: ‘Lovers conversing at a great distance will hold each other as in the flesh. Doctors will examine patients’ tongues in another city, and the poor will enjoy visual trips whenever their fancy inclines. In hot weather, too, Alpine glaciers and artic snows will be made visible in sweltering cities, and when piercing northeast winds do blow, we shall gloat over tropical vistas of orchids and palms.’
“This is no dream. The new ‘telephotograph’ invention of Dr. Arthur Korn, Professor of Physics in Munich University, is a distinct step nearer the realization of all this, and he assures us that ‘television,’ or seeing by telegraph, is merely a question of a year or two with certain improvements in apparatus.”
This article predicts the arrival of television soon. The article's subtitle reads: "Professor Korn has Triumphantly Succeeded in Transmitting Portraits over Long Distances by Wire. Experiments in France and Germany Conclusive. Description of the Marvellous [sic] Instrument." post office journalism future magazines, and photography facsimile magazines photography electricity theaters electricity, and theaters electricity, and photography photography, and electricity photography and visual communication motion pictures electricity, and motion pictures motion pictures, and electricity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines television telegraph photography and visual communication telegraph, and photography photography, and telegraph future and science fiction telephotography Korn, Arthur, and telephotography seeing at a distance modernity modernity, and photography photography, and modernity non-USA Germany Germany, and photography by wire Germany, and telegraph telegraph, and Germany facsimile, and telegraph telegraph, and facsimile duplicating technologies postal service postal service, and facsimile facsimile, and postal service postal service, and telegraph telegraph, and postal service Sending Photographs by Telegraph 37130 Sending Pictures by Telegraph Frank Leslie's Popular Monthly
April 1901
51 6 9-17 This article begins by says that "there are few people who know that letters and pictures can be sent by telegraph." It then discusses the "curious invention by which a photograph or letter in facsimile can be transmitted from San Francisco to New York in half an hour." The invention was called the "telediagraph" and the author notes that its inventor, E. A. Hummel, agreed two years earlier to "give the exclusive use of the apparatus to a syndicate of six American newspapers for a period of two years." In other words, a half dozen newspapers were using this system between 1899 and 1901. That agreement expired April 19, 1901, allowing the "picture-telegraphing machines" to "be installed in every telegraph office in the world," the article states. (9)
The article notes that not only newspapers will use this machine but also the police. One advantage of the telediagrph is that it "can send a picture to many widely distant cities simultaneously." (10)
The author reports that he watched the telediagraph in operation in the offices of the New York Herald. (11) It was also being used by the Chicago Herald. (13)
The article points out the similarities and differences between the telediagraph and the phonograph. "The mechanism which moves both the roller and arm in the phonograph is essentially the same as that which moves the corresponding portions of the telediagraph.
"But there all resemblance between the two machines ceases, for the telediagraph works like an ordinary dot-and-dash telegraphing instrument. Like the familiar telegraph 'transmitter' and 'receiver' in ordinary telegraphy, the telediagraph consists of both 'sending' and 'receiving' instruments. But in the telediagraph both sender and receiver are similar in appearance, and are operated upon practically identical principles." (12)
Hummel says that pictures can also be sent by transatlantic cable. The article explains that the "circuit system used in the telediagraph is what telegraphers call a closed-circuit system." (16) journalism fame celebrity celebrity culture magazines, and photography magazines photography telegraph photography and visual communication telegraph, and photography photography, and telegraph news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time electricity, and photography photography, and electricity telediagraph, and photographs newspaper syndicates newspapers, and syndicates newspaper syndicates, and photographs photography, and newspaper syndicates facsimile telegraph, and facsimile facsimile, and telegraph seeing at a distance telegraph, and seeing at a distance sound recording phonograph phonograph, and telegraph telegraph, and phonograph cable, transatlantic, and photographs photography, and transatlantic cable Hummel, E. A., and telediagraph personality cable Sending Pictures by Telegraph 38170 Sending Pictures by Wire Chicago Daily Tribune
June 25, 1899
12 This article reports from Cleveland, Ohio, that "a series of long distance experiments in the transmission of pictures have recently been made over the wires of the Western Union Telegraph company, the last taking place between Cleveland and St. Louis.
"Among the pictures received during this test were those of Rear Admiral Schley, General Manager Melville E. Stone of the Associated Press, and J. C. Barclay, electrician of the Western division of the Western Union Telegraph Company.
"Telegraph electricians and others who were present at this test are a unit in expressing their belief that the machines will do all that is claimed for them. Printed or written matter can be transmitted and reproduced much more rapidly than pictures, though only a few moments are consumed in transmitting a cabinet size photograph." The rest of the article explains how this instrument works. The article's subtitle reads: "Latest Experiments in Long-Distance Transmission Said to Prove the Success of New System." telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph Western Union Western Union, and pictures by wire Associated Press, and pictures by wire Associated Press, and photography duplicating technologies duplicating technologies, and photography duplicating technologies, and facsimile Associated Press photography Sending Pictures by Wire 29200 The Seven Samurai Akira Kurosawa Criterion Collection (DVD, 1998)
1954
Shojiro Motoki, producer. motion pictures, and violence motion pictures and popular culture violence motion pictures, and violence violence, and motion pictures Japan motion pictures, and Japan Japan, and motion pictures non-USA motion pictures The Seven Samurai 26950 Sex Reports on Priest Called Confirmed; Inquiry: Covenant House Says Probe Found Evidence of Misconduct by Father Ritter, Founder of Shelter for Runaways. He Has Denied Wrongdoing Los Angeles Times
Aug. 4, 1990
A 21A An article dealing with the sex scandal that involved Father Bruce Ritter, a former member of the Meese Commission. sexuality pornography Meese Commission Ritter, Bruce Covenant House, and Bruce Ritter Ritter, Bruce, and pornography pornography, and Bruce Ritter Meese Commission, and Bruce Ritter Sex Reports on Priest Called Confirmed; Inquiry: Covenant House Says Probe Found Evidence of Misconduct by Father Ritter, Founder of Shelter for Runaways. He Has Denied Wrongdoing 40070 The Shadow on the Stage Living Age
Aug. 3, 1901
230 2978 276-83 This article argues that the quality of the theater has declined because of two developments. One is the rising attention given to the actor who has come to overshadow the writer or poet who creates the drama or story. The other factor is the growing important of the "scenic artist" or carpenter who creates increasingly elaborate stage designs. These sets threatened to overwhelm not only the story (i.e., writer) but even the actor. The author argues that "the drama dies because it has confused its functions; it has wasted its true strength to enhance a spurious beauty, and it resembles a man who should sacrifice both brain and muscle to increase by an inch or two the growth of his beard." (277)
With regard to the changing status of the actor and the role of scene makers, this article maintains that a "brief retrospect will show that when the theatre commanded an intelligent admiration, the poet was an omnipotent and unquestioned master. The simple decoration of the Greek stage was ordained by a holy tradition. The actors, whose heads were hidden in conventional masks, and whose feet were propped on clumsy patterns, could neither ogle nor strut. They were neither discussed nor advertised. Nobody knew their names nor cared about their visages.... Yet soon after Shakespeare's day the actor and scene-shifter begun to raise their heads.... Thus the servant already encroached upon the master's province. The poet, eclipsed by the actor, the carpenter and the musician, saw his supremacy threatened." (277)
As performers became more popular, their salaries increased and with that fact "the general excellence of a performance presently surrendered to the advancement of the popular actor...." (278) Although by the 18th century the author had by no means lost all his influence, "the history of the stage thus ... became the history of the player...." (278) The relationship between actor and writer had been altered. "At the outset, ... the actor was paid by the theatre to perform a certain task; now he hires the author to fit him with a part. It is a strange reversal of the roles, and it explains the dire malady which has long beset our playhouses. What man of letters would accept the new conditions and 278/279 see his work cut and slashed t suit the interpreter? What would the printer say if his frame-maker and colorman signed his canvas and assumed the glory of his work? Would the very minimus among the poets permit the printer and paper-maker to 'create' his poems, and set their names upon his title-page? Of course neither the painter nor the poet would submit to so monstrous an outrage, and as no playwright can hope for success who does not obey the actor, so the making of plays has fallen out of distinguished hands and is picked up by the odd cobblers and patcher, who are supposed to entertain us." (278-79)
The author has a low regard for the contemporary actor in 1901. "And what is the modern actor," this article asks, whom we have won in exchange for the vanished poet? He is distinguished from the ancient by a gentlemanly incompetence.... In fact, he has been told by the tongue of flattery that he has but to stride the stage as a drawing-room and his elegance will be paten to all...." (279) Actors, the author says, have "So long ... been pampered with wealth and flattery that they have quite forgotten the exigency of their art." (282)
Even worse for the theater is the rising influence of the carpenter, in the author's view. "But the pompous actor, who, with his vain desire to be pointed at with the finger, strides the Strand like a conqueror, is not the sole ruin of the stage.... For the carpenter and upholsterer destroy the very essence of the theatre, which is illusion. The city of make-believe should not be built of brick and stone.... There is but on possibility of dramatic illusion -- the consistent and harmonious suppression of reality...." (280)
The tradition balance between the playwright, actor, and scenic artist has been upturned and confused. Shakespeare may be performed but "Two boys, with their legs painted brown, wrestle on the stage; or lovers interrupt the action with their silent blandishments. Then a pause: the great man enters, the crowd is frozen to immobility, and the text of Shakespeare is not spoken, but interpreted (or created) with nods, winks and jerks of the elbow. Nothing is achieved simply. A perpetual commentary of crowd, speech or gesture converts the best play into a sort of pantomime. And the actor is no longer all-sufficient; as we have seen, he killed the dramatist long since, and it is only because he is his own manager that he has not already surrendered to the stage-carpenter. But when once he lets go his supremacy he will have a short shrift. For the upholsterer is to-day the essential artist of the stage, and he will esteem the actor no more highly than the actor esteemed the dramatist. Thus the balance is overturned, and the three elements which we have named pitifully confused. No longer are action and ornament the handmaidens of poetry. Poetry is a poor excuse for false splendor, and action -- in its own belief the foremost of the arts -- is made ridiculous by vanity." ( 281)
The high salaries paid actors and their unwillingness to tolerate rivals to their fame make it difficult to put together a company of players which is necessary for a truly national theater. And the carpenter's work limits the number of plays that can be performed because "the extravagance of the upholsterer has made long runs inevitable...." (281)
The author praised the Théatre Francais where the "method of Moliere is still reverenced, and no actor may pass the stately portals unless he has conquered his craft, can speak and walk, and is willing to subordinate his vanity to the common good." (281) But this article is pessimistic about whether or not the level of theater will be improved and this kind of national theater achieved in England. "We are not optimistic. Destiny and experience are against us, and the people long ago ceased to chafe at the domination of the actor." The theatre could "be the home of a beautiful and delicate art," but unfortunately it "is generally nothing more than a scene of vulgar 'pleasures taken in common.'" (283)
This article originally appeared in Blackwood's Magazine. theater fame celebrity theater and stage theater and stage, and celebrity culture celebrity culture celebrity, and theater and stage personality personality, and theater and stage theater and stage, and personality fame, and theater and stage theater and stage, and fame theater and stage, and stars actors acting words vs. images images vs. words actors, and bias against theater, and bias against actors, and writers actors, and fame actors, and status of non-USA Great Britain non-USA, and theater and stage Great Britain, and theater and stage non-USA, and actors Great Britain, and actors common theater The Shadow on the Stage 13790 She’d Have Women Police New York Times
Jan. 25, 1911
7 This article says that more women in police work would help stop white slavery. The article's subtitle reads: "Dr. Anna Shaw Tells the Belmont Art League That the City Needs 1,000." censorship motion pictures law motion pictures, and law law, and motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures motion pictures, and white slavery white slavery, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings She’d Have Women Police 31620 The Shock of Freedom in Films Time
Dec. 8, 1967
66-68, 73-74, 76 This article notes that with the demise of the Production Code, movie makers "enjoy a heady new freedom from formula, convention and censorship." (66) The article discusses several films including: Blow-Up, Reflection in a Golden Eye,In the Heat of the Night, The Graduate, and Bonnie and Clyde. Film makers and other artists put a premium on experiment in both life and art and in "the questioning of moral traditions, the demythologizing of ideals, the pulverizing of esthetic principles ...." (67) self-regulation motion pictures, and sexuality sexuality motion pictures censorship and ratings Production Code, breakdown of Bonnie and Clyde Reflections in a Golden Eye (1967) Blow-Up sexuality violence motion pictures, and sexuality motion pictures, and violence freedom Production Code Production Code (motion pictures) The Shock of Freedom in Films 750 Show Life and Beauty Chicago Daily
Oct. 5, 1896
6 This article comments on the showing of the first moving pictures in Chicago. “A Paris photographer, M. Promio, was in Chicago last week taking photographs for this tiny piece of mechanism that is now delighting thousands of Chicago people by throwing upon canvas lifelike, moving pictures of the streets, of battles, of pageants, of love making, of children at play, and almost everything else that goes to make up the life of the world.”
“During the entire scene not a movement is lost. Every shade of action is faithfully portrayed and the picture is charming.
“The vitascope can reproduce photographs in colors and does so on occasion. One of the best pictures of this kind is that of two girls dancing. One of them holds a big, red parasol. They dance in perfect time and their movements are graceful and pleasing. The girl with the parasol suddenly drops it an instant later two heads are seen but only one body and one pair of legs. One has jumped upon the back of the other, who keeps up the dance and gives a very cleaver imitation of the two-headed girl.
“The cinematographe has been exhibited in every country in Europe, although it was first shown to the public on Christmas day, 1895. It was brought to this country last June. The vitascope has never been shown abroad, but it will be taken to Paris and London this year.”
The subtitle of this article reads: "Marvelous Productions of Cinematographe and Vitascope. Two Thousand Photographs Necessary to Produce a Single Picture of Minute’s Duration How the Photographs Are Made and Prepared for the Machines and Afterwards Reproduced on Canvas, Lifelike in Size and Action and Color." motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas motion pictures, and Thomas Edison vitascope Edison, Thomas, and vitascope audiences motion pictures, and audiences color color, and motion pictures motion pictures, and color cinematograph color, and vitascope vitascope, and color France Great Britain non-USA France, and motion pictures Great Britain, and motion pictures motion pictures, and number of photographs motion pictures, and speed Show Life and Beauty 16150 Show Stomach at Work New York Times
Mach 27, 1913
7 The subtitle of this article says: "Moving Pictures a Feature of the Physiotherapy Congress in Berlin." science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures medicine, and motion pictures motion pictures, and medicine Germany non-USA Germany, and motion pictures motion pictures, and Germany Show Stomach at Work 15130 Shows Moving Views in Natural Colors New York Times
Oct. 29, 1910
8 This article reports on the first color moving pictures that were not hand-painted. “Moving pictures projected on the screen in natural colors by the agency of light only had their first public demonstration in America last night at a meeting of the New York Electrical Society, in its lecture room at 29 West Twenty-ninth Street. Into the coloring of these pictures no hand work, stencil work, or similar method enters….
“The kinemacolor films are not yet on the market here, but that is said to be a matter of only a few weeks….
“One of the most successful views was of a big orange being cut open in a man’s hands. The fresh tints of the hands and the rich color of the orange were effective enough, and the applause came when the orange was squeezed and the juice trickled out….
“Besides the greater accuracy of the kinemacolor process, it has the advantage over hand coloring in greater speed of production. Coloring the films means skilled craftsmen and much labor. The invention already has been exhibited in England and has been used in the London theatres for some months. It will reach American audiences in midwinter.
“It is understood that the perfection of this process is stealing Mr. Edison’s fire….” Edison had talked of moving pictures combined with the phonograph in natural colors.
The subtitle to this article reads: "A New Process of Color Photography Exhibited at the Electrical Society. Invented in England. Pictures Taken Through Red and Green Glass and Double Usual Speed All Hues Perfectly Shown." photography photography and visual communication photography, and color color, and photography color motion pictures color motion pictures, and color non-USA Great Britain Great Britain, and color movies motion pictures, and Great Britain non-USA, and color movies motion pictures, and non-USA Shows Moving Views in Natural Colors 42610 The Significance of the Color Red Harper's Weekly
Sept. 26, 1908
52 31 This brief article comments on the importance of red throughout history and observes that there was a good deal of superstition associated with it and that it was often associated with the primitive or uncivilized. "History and archaeological research have disclosed the fact that the ancients were particularly fond of bright colors, especially of red. Relics of painted pottery antedate the classical period of the Homeric cycle.
"The savage receives the greater part of his education through his senses, and therefore brilliant colors make a great impression upon him, and red most of any. This color of blood is a great stimulant to deeds of valor, and warlike tribes have invariably worn a profusion of that color. Red is now generously used by all uncivilized peoples. The skin is painted red by the New Zealander; red turbans are worn in India; and African tribes willingly exchange their precious ivory for red calico.
...."In olden times the efficacy of red as a cure all for disease was strictly followed...."
....."In the west of Scotland and in the West Indies it is customary to wrap a bit of red cloth or flannel around children's throats to ward of the whooping-cough...." (31) religion religion, and color media effects emotion decadence color color, and values values, and color values actors actors, and color color, and actors color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations color, and red color, and savages color, and the uncivilized color, and children children and media children, and color red violence violence, and color color, and violence color, and inadequacy of language color, in history acting children The Significance of the Color Red 32360 Silent Police Watch 'French Line' Unreel Variety
Jan. 6, 1954
193 1 In the hands of a producer like Howard Hughes, the technology became a potent weapon to challenge censorship. Hughes, who earlier had defied the Production Code by sensationalizing Jane Russell in The Outlaw, saw another opportunity for the actress in the three-dimensional movie The French Line (RKO, 1954), which was filmed in Technicolor. It premiered in late 1953, in St. Louis’s huge Fox Theater to a standing-room-only audience that included Jack Vizzard from the PCA who had been sent there by Breen, and police officers who had been sent there by the city’s chief of police. Although this article does not say so, it was probably no accident that Hughes chose St. Louis. The city had no official censorship board but it was the home of the Code’s author, Daniel Lord, and many other Catholics. Advertising inundated newspapers, radio, television, and billboards proclaiming “J. R. in 3-D. That’s all, brother,” and “Jane Russell in 3 Dimension -- and What Dimensions!” The opening was uneventful in that the police took no action. The movie’s appearance followed on the controversy created by Preminger’s The Moon Is Blue, and it also appeared at a time when the influential National Theatre Owners of America was urging modernization of the Code. self-regulation National Association of Theatre Owners (NATO) motion pictures censorship and ratings PCA Breen, Joseph Production Code, and French Line Hughes, Howard French Line (1954) motion pictures, and 3D censorship, and French Line censorship, and 3D films Vizzard, Jack, and French Line Breen, Joseph, and French Line Russell, Jane censorship, and Jane Russell censorship, and Howard Hughes NATO NATO, and Production Code Production Code, and NATO Production Code Production Code (motion pictures) censorship Production Code Administration (PCA) Silent Police Watch 'French Line' Unreel 3480 Skin Mags to Lose Newsstands Sales in 7-11 Decision Adweek
April 21, 1986
Midwest Edition Southland Corp.'s decision to stop it 7-Eleven stores from selling Playboy, Penthouse, and Forum will cost these magainze about 100,000 newstands sales each per month. sexuality pornography Playboy sexuality sexuality Penthouse Meese Commission news and journalism books, periodicals, newspapers magazines law censorship and ratings censorship boycotts books, periodicals, newspapers censorship, and boycotts boycotts, and pornography pornography, and boycotts magazines, and boycotts Meese Commission, and boycotts Playboy, and boycotts Penthouse, and boycotts Skin Mags to Lose Newsstands Sales in 7-11 Decision 41510 Some Effects of Modern Publicity Century Illustrated Magazine
Nov. 1903
67 1 155-56 This article speculates on the influence that photography is having on political and religious power as photographers publish pictures of previous private moments of Queen Victoria, Pope Leo XIII, and "the daily doings of the Presidential family," (155) and other people of less renown. The article concludes: "What effect is all this publicity to have upon the average man, woman, and girl? But, particularly, what effect is all this familiarity to have upon the world's sentiment with regard to royalty and high ecclesiastical authority? As to these latter matters, surely there will be palpable effects. Can the sense of awe continue as great when there is so little left of the unknown? One thing is sure: the sentiment toward kings and courts and Vaticans can never remain the same in these new and remarkable conditions. The relation between the former and their subjects and followers may be none the less affectionate, even reverent; it may become more human, more close. But the mystery having departed, there can hardly be the old stress. When the mind is no longer awed and clouded by the dim and the unknown the appeal to reason must be reinforced. So far as publicity has to do with authority, secular or sacred, we believe the change effected is very great and likely to increase; and we believe that this change is, on the whole, better for humanity." (156) [emphasis added] wood engraving journalism journalism fame celebrity nationalism and communication photography, and nationalism photography, and religion photography, and authority nationalism, and photography religion, and photography photography, and Pope Leo XIII magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving photography, and Century motion pictures, and Pope Leo XIII religion, and Pope Leo XIII photography, and Queen Victoria Great Britain non-USA photography, and Great Britain Great Britain, and photography presidents and new media photography, and presidency advertising and public relations public relations, and news news and journalism public relations, and journalism public relations, and religion public relations, and nationalism privacy privacy, and photography photography, and privacy media effects photography, and media effects media effects, and photography democracy democracy, and photography photography, and democracy advertising nationalism public relations religion Some Effects of Modern Publicity 42300 Some Novel Uses of Electricity Scientific American
April 28, 1906
94 17 349-50 This article begins by saying that "The increased use of electricity in every branch of industry is surprising even to the most ardent advocates of this mysterious form of energy. Not only has electricity invaded the territories occupied by all other forms of energy, but it has actually created new fields of its own. This is particularly marked by the present electrical invasion of our homes, where labor-saving devices were never thought of until electricity showed its wonderful adaptability to all classes of work." (349) It then discusses several items such as electric fans, sewing machine motors, curling irons, hair-drying machines, milk warmers, electric dish washers, broilers, knife polishing machines, and more. home electricity electricity, and home home and new media home, and electricity American electricity, as mysterious women electricity, and women women, and electricity women, and electric devices in home Some Novel Uses of Electricity 37490 The Spectator Outlook
Dec. 3, 1910
96 14 767-68 This article begins by calling "the instantaneous photograph of moving objects in their nature colors" the "eighth wonder of the world." These pictures "were not the hand-colored cinematograph pictures which we have all seen, in which each of the thousands of separate films that make up a group of pictures is laboriously colored by the brush of a deft worker, a process taking a week or ten days at the least. Nor were they the Lumiere color photographs on glass, which astonished the world a year or two ago with the first real color photography, and were everywhere acclaimed as the greatest advance in photography since the days of Niepce and Daguerre. The Lumiere process required from sixty to a hundred times longer exposure than the ordinary photographic plate, and instantaneous work was out of the question. And here was a process that produced color motion pictures in one-half the time required for the taking of the ordinary instantaneous motion picture, with practically absolute fidelity to the real coloration of rapidly moving objects. The Lumiere process was wonderful; the Kinemacolor process, which is the name given to the new motion pictures, is marvelous." (767) Two Englishmen, Charles Urban and George Albert Smith, invented the Kinemacolor process.
The article says that "the first motion picture put on the screen in the exhibition of this process (just introduced into America) which was given for the Spectator's enlightenment was of an English harbor at sunset. A ship lay at anchor, her white paint glistening.... The scene was realistic to the last degree -- and the colors in all their natural hues were painted by Science, not by Art." (767)
The article discusses other films. "All seemed absolutely alive, the brightest colors and the neutral tints being shown with convincing fidelity; and one had the feeling that realism in art had at last come to its own." (767) Some people refused to believe that these pictures where not hand-colored. "But even more original and beautiful were the pictures of flowers" which showed not only "the brilliant beauty of fresh bloom, but actually the opening their blossoms before one's eyes, from the tightly closed bud to the full panoply of the most gorgeous dahlia or Chinese lily." (767)
The author argues that such images cannot help but have a positive impact on children. "Truly when one had thus, as it were, assisted 767/768 at the birth of a flower, a feeling of genuine awe came over one, and the thought, too, that a child who should see these wonderful things must not only have his soul awakened to beauty, but to the knowledge that science brings us close to the divine. Against the undoubted harm that has come to some children who have loved the moving-picture show not wisely but too well should be set the awakening of the imagination that must come from seeing pictures such as these, under proper auspices." (767-68)
The article offers other examples, many showing "scenes in foreign lands ... -- all presented with the same startling fidelity to the colors of the actual objects." (768) Like magic carpets, the article notes, movies could transport audiences “in a twinkling to distant places” but the work of “practical men” (768) in producing such things as color films exceeded fairy tales. science children photography color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication color, and Lumiere process photography, instantaneous photography, and instantaneous color Lumiere process, and color photography photography, and exposure time Lumiere process, and exposure time color, and kinemacolor kinemacolor process, and motion pictures kinemacolor process, and color films modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and science science, and motion pictures motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures, and new art form children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children kinemacolor kinemacolor, and George Albert Smith kinemacolor, and Charles Urban motion pictures, as magic carpet metaphors metaphors, and movies as magic carpet photography, and instantaneous cameras, and instantaneous cameras motion pictures The Spectator 15120 A Splash of Photo History Comes to Light New York Times
May 21, 2007
B 1, 5 This article is accompanied by picture on a color photograph taken of a woman, probably Charlotte Spaulding in Buffalo, NY, in 1908. The photographer, Edward Steichen, used a process developed by the Lumiere brother in France. Steichen, the article says, brought this process to the United States. The article then discusses how this photograph came to light almost a century after it was taken. The article describes the pictures. "Autochromes are positive images, meaning they are unique and not negatives that can be used to create prints. They were made using a complex process in which tiny dyed grains of potato starch were spread across a piece of glass and light was passed through them to a photo-sensitive plate.
"The three colors of the starch grains -- bright blue-violet, bright orange-red and Kelly green -- worked together to produce a wide range of realistic-looking colors, in the same way that combinations of red, blue and green dots produce a color-television picture....
"Unlike most other antique prints, autochromes are usually displayed with a light source behind them, allowing their colors, which are dim in regular light, to shine through the semi-transparent glass or to reflect onto a mirror. But prolonged exposure to light can wash out the images. After Eastman House displays the pictures they will be returned to storage. (The pictures will be exhibited on a light table sometime in October, although a date has not been set.)" photography photography and visual communication photography, and color color, and photography color Lumiere process, and color photography color, and Lumiere process photography, and sexuality sexuality, and photography women women, and color photography photography, and women Steichen, Edward, and color photography photography, and Edward Steichen color, and Edward Steichen photography, and autochromes color, and autochromes sexuality A Splash of Photo History Comes to Light 13380 Spring New Scheme. Democrats to Show Moving Pictures of Bryan in Chicago on Labor Union Day Los Angeles Times
Sept. 13, 1908
I 2 This article talks about the Democrats used film to promote William Jennings Bryan. politics history history historical preservation motion pictures history and new media motion pictures, and history history, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph history, and sound recording sound recording, and history politicians, and new media politicians, and motion pictures Bryan, William Jennings Bryan, William Jennings, and motion pictures motion pictures, and William Jennings Bryan Spring New Scheme. Democrats to Show Moving Pictures of Bryan in Chicago on Labor Union Day 17260 Stag
1950s, 1960s
This publication was one of many male-oriented magazines that featured nude pictures of women. The magazine exploited improvements in photography that had taken place during the 1950s and 1960s. magazines sexuality pornography obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity 29310 Stanley Kauffmann on Film
July 12, 1999
New Republic Online http://www.tnr.com/archives/0799/071299/kauffmann071299.html Movie critic Stanley Kauffmann writing for the New Republic called Oliver Stone's Natural Born Killers (1994) a “paradigm ... of the ills and the imbalances in American life.” motion pictures and popular culture critics Natural Born Killers (1994) Stone, Oliver violence motion pictures, and violence violence, and Oliver Stone violence, and motion pictures motion pictures, and reviews motion pictures Stanley Kauffmann on Film 13530 Starr Going to Africa Chicago Daily Tribune
Sept. 15, 1905
3 This article says that Professor Frederick Starr is going to Africa to take pictures and bring back phonographic records of natives’ songs. This article's subtitle reads: "University of Chicago Professor to be Away a Year. Educator Will Spend Time in Heart of the Jungle…. Photographs Will Be Taken, Phonographic Records Secured of Voices, and Much Valuable Data Brought Back." nationalism motion pictures, and Americanization motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures, and new art form race race, and motion pictures motion pictures, and race sound recording phonograph Starr, Frederick Starr Going to Africa 15650 Strike Near Top of Cupid Trust Chicago Daily Tribune
March 5, 1908
7 The subtitle of this article reads: "Inspectors Arrest Isadore Meyers, Head of Series of Agencies. Stage Photos His Stock. Fifty Thousand Copies of Six Pictures Ready to Be Mailed to Applicants." fame Chicago, IL celebrity censorship actors acting photography motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality sexuality, and photography women women, and photography photography, and sexuality audiences audiences, and women women, and audiences censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and Chicago Chicago, and motion pictures Strike Near Top of Cupid Trust 35160 The Stripper (aka Celebration and A Woman in July) Franklin J. Schaffner Twentieth Century--Fox Film Corp.
1963
The Production Company for this film was Jerry Wald Productions, Inc. A Jerry Wald Production. Plot synopsis from the American Film Institute Catalog: "Plot Summary: After failing to make a successful career as a dancer in movies, Lila Green joins a second-rate vaudeville act. When the show arrives in the small Kansas town where Lila spent part of her childhood, Ricky Powers, the troupe's manager and Lila's lover, skips town with their money, and Lila moves in with an old friend, Helen Baird, and her young son, Kenny. The ardent but inexperienced Kenny becomes so attracted to Lila that he breaks off with his teenaged girl friend and asks Lila to marry him. Lila's happiness is shattered when she realizes that Kenny's promises are a result of youthful infatuation. Ricky returns to offer Lila a job--performing a striptease at a stag show--and she reluctantly agrees to do the act. Kenny watches the performance and becomes so disgusted with what Lila has been reduced to that he once more proposes. She refuses, however, knowing that their marriage would never work, and she decides also to forego her career to make a new life for herself." Actress Joanne Woodward played Lila Green. MPAA president Eric Johnston approved the title although warned 20th Century Fox to be careful of the advertising for the film and the potential public relations fall out from the public. self-regulation motion pictures, and sexuality sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric The Stripper (aka Celebration and A Woman in July) 41520 Studies in the Emotions of Man Chicago Daily Tribune
Nov. 29, 1903
A 5 This article, illustrated with woodcuts of men's faces, discussion how the face expresses emotion. In Ancient Greece, actors were more honest. They wore masks to symbolize emotion and made no effort to use facial expressions. Modern actors use their facial expressions but rely on conventional forms of expression rather reflecting true emotion. "The hardest task of an artist, sculptor, or even actor is the reproduction of delicate shades of human emotions. Certain ??, well defined emotions have certain conventional physical signs which frequently are used by the person trying to express the feeling.
....
"The actor can represent a whole series of emotions by a series of expressions and can change from one to another at will. He has the still further advantage of being able to illustrate the emotion by word as well as by expression.
"In spite of this freedom the actor, as well as the artist, is found using the old conventional forms, which, like a Greek mask, are supposed to be the types for certain emotions.
"The Greek actors were more honest than the modern actor who pretends to give a real and natural expression of emotion. They in the old days of the stage made no attempt at facial expression. They put on a mask which represented the conventional idea -- whether of anger, horror, reverence, or whatever might be required.
"These conventional and much used expressions are declared to be entirely opposed to the true and natural representations. The actor, when he portrays the emotions of anger, for instance, is more apt to be using an expression that some actor before him used than one which he knows would be natural expression.
"These facts are apparent to a stranger to the art of mimicry, as well as those who have made it a careful study. Scientists like Darwin, Meynert, Mantegazza, and especially Pederit, were the first to apply scientific methods in investigating the subject. They used physiology as a foundation for the study, but they did what others had not done and focused their entire attention on the features alone, to the exclusion of the body.
"Pederit gave the results of his study to the world in the shape of his book, "Mimicry and Physiognomy." He is said to have been unfortunate in his classification of the emotions.
"Dr. [H.] Heller, who has gone farther and his illustrated the emotion with plaster models for the study of artists and actors, was an admirer of Pederit....." facial expressions women photography and visual communication photography, and actors actors, and photography photography, and acting acting, and facial expressions facial expressions, and acting acting, and eyes facial expressions, and emotion emotion, and facial expressions acting, and physiology facial expressions, and physiology acting actors photography Studies in the Emotions of Man 36380 'Suddenly, Last Summer' New York Times
Dec. 13, 1959
SM72 This brief account notes that this movie was written by Tennessee Williams with "collaboration with a friend, Gore Vidal." The movie was based on an off-Broadway play. Several pictures from the movies accompany this piece. Suddenly, Last Summer was one of the so-called American-interest or "runaway" films made during the 1950s and 1960s. This film had problems with the Production Code Administration because it dealt with homosexuality and cannibalism. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Suddenly, Last Summer (1960) motion pictures, and foreign markets motion pictures, and American-interest film motion pictures, and cannibalism 'Suddenly, Last Summer' 35890 Suddenly, Last Summer Joseph L. Mankiewicz Columbia Pictures
1960
At the U. S. House of Representative Postal Operations subcommittee hearings in early 1960, the movie Suddenly, Last Summer (1960) came up for criticism. Committee members said the movie had generated many complaints. The picture was made abroad but the Hollywood Production Code had cleared the film after several lines were cut.
MPAA president Eric Johnston said he saw the film three times. “You can read homosexuality into it, or you could read incest, if you wish, if you mind goes along those channels. But I don’t think there is anything like that in the picture,’” the New York Times reported. The Production Code Administration also was concerned about cannibalism.
The movie starred Elizabeth Taylor, Katharine Hepburn, and Montgomery Clift. It was based on Suddenly, Last Summer from Garden District by Tennesse Williams (New York, 7 Jan 1958). Produced: 26 May--4 Sep 1959 at Shepperton Studios, England. Released: 00 Jan 1960; Los Angeles opening: 20 Dec 1959; New York opening: 22 Dec 1959.
Plot Summary from American Film Institute Catalog: "In 1937, at the Lyons View State Asylum in New Orleans, Louisiana, Dr. John Cukrowicz performs a delicate experimental surgery known as a lobotomy. After the primitive conditions at the institution nearly derail the operation, however, John threatens to return to his practice in Chicago. In response, Dr. Hockstader, the head of Lyons View, shows John a letter from wealthy widow Mrs. Violet Venable, offering financial assistance in return for a meeting with the venerable surgeon. That afternoon, John visits Violet at her mansion in the Garden District, where she makes a grand entrance by descending in an elaborate, cage-like elevator. John is surprised by his benefactor's relative youth and by her obsession with her deceased son Sebastian. In the mansion's jungle-like garden, which Sebastian modeled after Michelangelo's "Dawn of Creation," Violet asks John to perform a lobotomy on her niece Catherine Holly, who she claims is suffering from visions and hallucinations. Catherine has been confined at St. Mary's, but has offended the nuns who run the hospital with her violence and obscenities. Violet is particularly distressed by Catherine's babbling a stream of obscenities regarding her son Sebastian, who Violet asserts, has "seen the face of God." After Violet describes a trip with Sebastian to the Galapagos Islands, where they witnessed flesh-eating birds devour newly hatched sea turtles, she tells John that she traveled with Sebastian every summer, except for the last one, when Sebastian went with Catherine and died of a heart attack on the day that Catherine lost her mind. Because Violet implies that her contribution to Lyons View is contingent upon Catherine receiving a lobotomy, John goes to St. Mary's to interview his prospective patient. There, Catherine insists that she is sane and portrays Violet's relationship with her son as unnatural. When John asks her about Sebastian's death, Catherine becomes hysterical and is only able to recall a white-hot beach and the pounding noise of tin musical instruments. John arranges for Catherine to be transferred to Lyons View, where Hockstader informs him that Violet has agreed to donate $1,000,000 on the condition that John lobotomize Catherine. At Lyons View, Catherine is allowed to wear her own clothes and live in the nurses' wing. When Catherine's mother Grace and brother George come to visit her, Grace tells John that Violet was shaken after receiving a letter from the authorities regarding Sebastian's death. After Grace asks to speak to her daughter alone, John leaves the room, and once he is gone, George confides to Catherine that Sebastian left them $100,000 in his will, but that Violet has decided to block probate until Grace signs the consent form for the lobotomy. Distraught, Catherine runs from the room and blunders into the men's ward, where her presence sparks a riot. After being rescued by an attendant, Catherine asks John if he plans to lobotomize her, and he appeals to her to trust him. Once she is sedated, Catherine mumbles about Sebastian's appetite for blondes and his treatment of people like "items on a menu." Violet then comes to speak to John, and after handing him a volume of Sebastian's poetry, explains that each year during their summer travels, Sebastian would write a poem. When John asks her about the letter from the Spanish authorities, she vehemently denies receiving it and says she was sent only a death certificate. John then asks Violet to see Catherine, who is just awakening from her sedation. When Violet accuses Catherine of usurping Sebastian's affection, Catherine retorts that he used them both as procurers, and after Violet became too old and unattractive, he decided to use Catherine as his bait. Becoming hysterical, Violet implores John to "cut that hideous story out of Catherine's brain," then faints. Agitated, Catherine wanders onto the balcony of the women's ward and is about to jump when an attendant restrains her. Pressured by Violet, Hockstader insists that John perform the lobotomy the following day, but John asks him for one last chance to jar Catherine's memory. The next day, John, Hockstader and a nurse escort Catherine to the Venable home, where John has arranged to meet Grace and George. After administering truth serum to Catherine, John leads her into the garden and prods her to remember what happened that last summer. After recalling that Sebastian suddenly announced that he was taking her and not his mother to Europe, Catherine revisits the events of that fateful summer: As they traveled through Italy, Sebastian became increasingly restless, and by the time they reached Spain, he had abandoned his nighttime soirees for afternoons at the public beach. One day, Sebastian forced Catherine to wear a bathing suit that when wet, became transparent. As men came to leer at Catherine's body, hungry young boys swarmed Sebastian, who passed out tips to lure them into the bathhouse with him. While Catherine and Sebastian were seated at a restaurant one blazing white day, hungry boys, barred from the establishment by a wire fence, began calling for bread. After Sebastian derided them as little beggars, the children began to serenade them with tin cans and brass plates. Agitated, Sebastian stormed out of the restaurant and started up a steep street, walking faster and faster in panic. Chased by the urchins, Sebastian became trapped in a maze of narrow streets. After ascending a "steep white street," Sebastian found himself in some ruins at the top of a hill where he was overtaken and devoured by the frenzied crowd. Upon completing her recitation of that terrible day, Catherine finds that her memory has suddenly been restored. The revelation about her son's true sexuality is too much for Violet, however, who loses her mind and comes to think that John is Sebastian. John calms Violet, then returns to the garden where he takes Catherine's hand and hand in hand, they walk toward the house."

"Note: The film's opening and closing cast credits differ slightly in order. Suddenly, Last Summer was one of the two one-act plays by Tenneessee Williams that opened off-Broadway under the title Garden District. The other one-act play was entitled Something Unspoken. Williams' play was more explicit in dealing with "Sebastian's" homosexuality and his cannibalistic death. In a 25 May 1959 letter from PCA head Geoffrey Shurlock to producer Sam Spiegel, contained in the film's file in the MPAA/PCA Collection at the AMPAS Library, Shurlock told Spiegel that due to the homosexuality of the leading character, the explicit cannibalism and the blasphemous attitude toward God voiced by Sebastian and his mother, the film would be denied a seal of approval. In that letter, Shurlock suggested taking the finished picture to the appeals board for approval. Spiegel responded by saying that the homosexual "pays for his sins with his life," that all references to cannibalism would be eliminated (in the film, the word "devour" replaces references to cannibalism), and that no offense should be taken on religious grounds because the mother and son are "obviously psychopaths." Although the PCA file does not contain any specific references to the nature of the cuts, a Nov 1959 NYT article noted that Spiegel deleted unspecified scenes to win code approval, eliminating all explicit mention of homosexuality and cannibalism. Approval was finally granted after the matter was brought before the MPAA Code Review Board. According to a Dec 1959 HR news item, the National Catholic Legion of Decency criticized the MPAA for approving the film on the grounds that it involved "perversion."
"According to HR news items, Vivien Leigh, who was initially to appear as "Mrs. Venable," bowed out of the production to star in a West End London revival of Henrik Ibsen's A Doll's House. Following Leigh's departure, Margaret Leighton was considered for the role. A May 1959 "Rambling Reporter" item in HR states that producer Sam Spiegel planned to have Bobby Helpman play the role of Sebastian. In the film, Sebastian's image, photographed from the back, appears briefly as "Catherine" describes his death. Because his face is never shown, Helpman's appearance in the film cannot be confirmed. Although a Mar 1959 item noted that Steve Forrest was cast, he does not appear in the film. Although HR news items add the following actors to the cast: Sandra White, Sheila Raynor, Rory McDermot, Brenda Dunrich, Roberta Woolley and Joseph Arthur, their appearance in the released film has not been confirmed. Modern sources add Jake Wright Asst dir to the crew, but the extent of his participation in the film has not been determined.
"According to a Dec 1959 HR news item, location filming was done along the Costa Brava in Spain. A 1960 article in The Daily Mail noted that the village pictured in the film was the village of Bagur in Catalonia, Spain. The HR item noted that all references indicating that the film was shot in Spain were deleted at the behest of the Spanish government, which objected to the depiction of local youths devouring a man.
"The film was nominated for the following Academy Awards: Katharine Hepburn and Elizabeth Taylor were both nominated for Best Actress, and the film was also nominated for Best Art Direction-Set Decoration. According to modern sources, Hepburn did not get along with director Joseph L. Mankiewicz. Hepburn objected to Mankiewicz's treatment of Montgomery Clift, who was suffering from alcoholic depression at the time of the production. She also objected to her washed-out appearance in her final scene, which was created by the director's insistence that she be shot in a harsh light without the benefit of makeup. Modern sources add that in a letter to Williams, contained in a collection of his unpublished letters sent to the playwright, Hepburn wrote that at the end of the production, she spit on the floor to express her contempt for the "botching of his play."
"In 1992, Columbia Pictures Television remade Williams' play as a television movie, directed by Richard Eyre and starring Maggie Smith, Rob Lowe and Natasha Richardson."

Source citations:
Variety 16 Decorations 59, p. 6.
New York Times 23 Decorations 59, p. 22.
Motion Picture Herald Product Digest 19 Decorations 59, p. 524.
Daily Variety 16 Decorations 59, p. 3.
Hollywood Reporter 16 Decorations 59, p. 3.
Film Daily 16 Decorations 59, p. 6.
Box Office 28 Decorations 1959.
Box Office 21 Decorations 1959.
Hollywood Reporter 28 Aug 1959.
Hollywood Reporter 4 Mar 1959, p. 2.
Hollywood Reporter 16 Apr 1959, p. 4.
Hollywood Reporter 19 May 1959, p. 2.
Hollywood Reporter 4 Decorations 1959, p. 1, 6.
Hollywood Reporter 8 Decorations 1959, p. 1, 10.
Hollywood Reporter 21 May 1959, p. 4.
New York Times 6 Nov 1959.
Daily Mail 1960.
Los Angeles Times 20 Decorations 1959.
Filmfacts 1960, pp. 319-21.
Hollywood Reporter 21 Apr 1959, p. 4.
Hollywood Reporter 18 May 1959, p. 2.
Hollywood Reporter 1 Jul 1959.
Hollywood Reporter 6 Nov 1959, p. 1, 3.
Saturday Review 2 Jan 1960.
Time 11 Jan 1960. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Suddenly, Last Summer (1960) motion pictures, and foreign markets motion pictures, and American-interest film Suddenly, Last Summer 28430 Suit Against Meese's Commission on Pornography Reported Settled Los Angeles Times
Jan. 30, 1987
20 The article concerns the settlement of a suit brought against the Meese Commision by the Magazine Publishers Association charging that the Commission had sent a letter to chain stores urging them to stop selling such magazines as Playboy and Penthouse, thus creating a blacklist. The article says that Playboy and Penthouse still have suits against the Commission still outstanding. sexuality sexuality sexuality pornography Meese Commission Meese Commission, and blacklists Playboy Penthouse Meese Commission, and boycotts Meese Commission, and Playboy Meese Commission, and Penthouse Suit Against Meese's Commission on Pornography Reported Settled 37350 Sunday 'Times' Greatest Yet Los Angeles Times
July 30, 1917
II 5 This article notes the huge volume of advertising in the July 29, 1917, Sunday edition of the Los Angeles Times. It included: "Classified Advertising, 145 columns, 3 inches. Individual liners, 7074 in number. Display advertising, 397 columns, 4 inches. Total advertising (linear and display), 542 columns 7 inches. Number of full-page advertisements, 28. Twice as much merchandise advertising as any competitor." The article's subtitle reads: "New Standard of Excellence Set by Huge Issue. Notable in News, Features and Heavy Advertising. Public Demand Exhausts the Whole Edition by Noon." sensationalism journalism journalism illustrations fame celebrity cartoons celebrity culture actors acting actors acting magazines photography books, periodicals, newspapers advertising and public relations newspapers, and advertising advertising, and newspapers newspapers, and Sunday papers newspapers, and linotype color color, and Sunday papers newspapers, and color newspapers, and illustrations illustrations, and Sunday papers newspapers, and religion religion, and newspapers religion newspapers, and novels newspapers, and fiction actors, and Sunday papers newspapers, and sports newspapers, and cartoons cartoons, and Sunday papers values values, and Sunday papers newspapers, and values modernity modernity, and newspapers newspapers, and modernity new way of seeing news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and Sunday papers newspapers, and motion pictures photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography advertising, and sensationalism sensationalism, and advertising women women, and Sunday papers newspapers, and women photography and visual communication women, and photography photography, and women celebrity, and Sunday papers photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and celebrity culture critics critics, and Sunday papers newspaper syndicates newspapers, and syndicates Sunday newspapers personality advertising motion pictures Sunday 'Times' Greatest Yet 16040 Superior Films, Inc. v. Dept. of Education of Ohio. 159 Ohio St. 315, 112 N.E. 2d 311 (1953), rev'd per curiam, 346 U.S. 587 (1954) 1953 In this case, the Court voided the use of “harmful” as a justification to censor motion pictures. U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases Production Code, and decline of motion pictures, and freedom court cases, and harmful Superior Films, Inc. v. Dept. of Education of Ohio. 20070 [Surgeon General's Report on TV Violence] Indianapolis Star
Sept. 4, 1971
1 See also: violence See also: sexuality This is one of many newspaper accounts about the Surgeon General's Report on Television Violence. television, and media effects Surgeon General social science research media effects media violence media effects censorship and ratings children television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures Surgeon General's Report (1972) television, and Surgeon General's Report (1972) violence children, and TV violence media effects, and television [Surgeon General's Report on TV Violence] 29380 Swept Away (aka Swept Away by an Unusual Destiny in the Blue Sea in August) Lina Wertmuller Italy / Columbia TriStar Home Video
1975
motion pictures and popular culture sexuality Meese Commission, and motion pictures women motion pictures, and women pornography, and motion pictures women, and motion pictures values media effects Meese Commission, and media effects foreign films motion pictures Meese Commission pornography Swept Away (aka Swept Away by an Unusual Destiny in the Blue Sea in August) 13220 Taft in Moving Pictures; Will be Snapped as He Signs Arizona Statehood Proclamation New York Times
Feb. 14, 1912
12 This article reports that “For the first time in the history of the White House moving pictures of an event of national importance will be taken to-morrow when President Taft signs the proclamation admitting Arizona to the Union.” Taft, William Howard administration journalism history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation presidents and new media Taft, William Howard Taft, William Howard, and new media Taft, William Howard, and motion pictures Taft, William Howard, and historical preservation historical preservation, and William Howard Taft motion pictures, and William Howard Taft news and journalism motion pictures, and journalism journalism, and motion pictures Taft in Moving Pictures; Will be Snapped as He Signs Arizona Statehood Proclamation 14990 Takes Photos in Colors Chicago Daily Tribune
Oct. 10, 1903
3 The subtitle of this article says: "J. H. Powrie Claims He Has Solved Old Problem." photography color, and photography photography, and color photography and visual communication color Takes Photos in Colors 16280 Taking Movies Seriously New York Times
March 9, 1919
48 The writer of this article is “convinced that the photoplay has the possibilities of a truly great art.” The article goes on to say: “And, of course, there is the universality of the moving-picture language. It is more universal, even, than the language of music.” motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and music motion pictures, and universality motion pictures, and new art form motion pictures, as positive influence Taking Movies Seriously 15710 Talking Pictures: The New Kinetophone The Times [London]
Jan. 20, 1914
8 This article discusses Thomas Edison's kinetophone, which combined the phonograph and moving pictures. motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Edison, Thomas Edison, Thomas, and sound film kinetophone Edison, Thomas, and kinetophone Talking Pictures: The New Kinetophone 14540 Tammany Aids Movie Fight; Democratic Committee Sees No Objection to Sunday Shows New York Times
Dec. 13, 1916
24 This article reports that Tammany Hall wants to keep theaters open on Sunday. censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and Sunday movies motion pictures, and blue laws censorship, and blue laws motion pictures, and New York New York, and motion pictures Tammany Aids Movie Fight; Democratic Committee Sees No Objection to Sunday Shows 31850 Taping Untapped Markets Time
Feb. 19, 1965
85 8 90, 92 This article notes that "few Americans have ever seen one, but the videotape recorder is playing a steadily bigger part in their lives." (90) There is a huge potential market for recorders but at this time, that potential is still largely unrealized. video cassette recorders (VCRs) sound recording magnetic recording VCRs television television, and VCRs VCRs, and television motion pictures, and VCRs motion pictures home and new media home, and VCRs home Taping Untapped Markets 31600 Tea and Sympathy Vincente Minnelli Loew's Inc.
1956
Production company: Metro-Goldwyn-Mayer Corp. [Loew's Inc.] Vincente Minnelli’s movie Tea and Sympathy implied homosexuality, and was one of several movies during the 1950s that suggested that the Production Code was being applied less strictly in Hollywood during the late 1950s. Plot summary from Americaan Film Institute Catalog: "At his Chilton preparatory school ten-year reunion, writer Tom Robinson Lee reminisces about his eventful year at the school: As a new student, shy and sensitive Tom acquires a romantic crush on Laura, the wife of dormitory headmaster Bill Reynolds. In the dorm garden outside her downstairs apartment, Laura draws Tom out, learning that he barely knew his mother and has never before been in love, having lived the previous decade in a series of all-male boarding schools. After Tom reveals that he hopes to escort her to Saturday night's dance, which will follow opening night of the school play, Laura tries to teach him to dance, but Tom is too shy. Later, he follows her to the beach, where Laura sews with faculty wives Lilly Sears and Mary Williams. Although Bill and the other boys are roughhousing nearby, Tom prefers to sit with the ladies, and when some of the boys spy him helping them to sew, Tom earns the nickname "Sister Boy." When Laura later drops by to ask Bill to plan a vacation alone with her, he berates her for allowing Tom to sew, and reveals that he has invited some students to vacation with them. Upon returning to the dorm, the boys taunt Tom, even though his roommate, Al Thompson, a star athlete, comes to his defense. On Saturday afternoon, Tom competes in a tennis match that his father Herb has come to watch. When Herb hears the boys mocking Tom, however, he leaves the match, to Tom's dismay. Herb later tries to "help" his son by urging him to cut his hair into a fashionable crewcut and encouraging him to harass soda shop waitress Ellie Martin, as the other boys do. Later, Herb visits Bill, a friend from their Chilton days, and expresses shame that Tom is not "a regular fellow." Laura is distressed to overhear the men's hopes that the evening's bonfire, at which new boys, wearing pajamas, are roughed up by older students, will make a man of Tom. When she later complains to Bill, he reveals that Tom's outcast status is a stain on the dorm and a grievance to Herb, and that rather than becoming emotionally involved, her only role is to provide "[H]tea and [H]sympathy" to the boys. Laura brings up her first husband, a sensitive boy she married when they were eighteen, only to lose him the next year in the war, but the subject infuriates Bill. Upstairs, meanwhile, upon learning that Tom is to play a female in the school production, Herb forces him to decline the role. Tom is disappointed and humiliated, especially after Herb admonishes him to "fight tonight, or else." At the bonfire, the boys march Tom out to the field, but once there, refuse to touch him, a slight more shameful than the hazing that the other boys are enduring. Unable to bear it, Al rips off Tom's top, prompting the others to join suit. As Laura runs off in revulsion, Tom rushes back to the dorm. In her rooms later, Al confesses to Laura that his father has insisted that Al change roommates the following year, and when Laura threatens to besmirch Al's reputation to show him how easily false rumors can start, Al responds heatedly that she has nothing to lose and so cannot understand. Realizing the truth of Al's statement, Laura apologizes. Al then attempts to teach his friend how to appear manlier, but Tom knows that it is too late for him to gain the boys' comradeship, and refuses the lessons. After Al reveals that he will switch dorms, however, Tom, in desperation, considers his friend's parting advice: to visit Ellie, whose bad reputation will give credence to Tom's heterosexuality. Soon after at their apartment, Bill tears up a book of poetry Tom has given Laura. Laura begs to know why Bill hates Tom and what has driven a wedge in their young marriage, but Bill refuses to talk to her, stating only that he does not want Laura to see Tom alone. When Laura then hears Tom making a date with Ellie, however, she tries frantically to detain the boy, inviting him into the apartment and informing him about her husband, who was killed trying to prove his bravery to disbelieving peers. Tom, assuming Laura pities him, tries to leave, prompting her to beg him to dance. Instead, Tom asks why Bill hates him and his father is ashamed of him, and breaks down in tears. When Laura holds him, Tom impulsively kisses her, but runs off when Bill and some boys return early from their weekend mountain climb. Tom sneaks off to Ellie's, where he is awkward and repulsed by her slatternly ways. He tries to kiss her, but after he pulls away, she recalls his nickname and shouts "Sister Boy" at him. Tom breaks down, grabbing a knife from her kitchen drawer to attempt suicide. Ellie screams out to her neighbors, who call the campus police, and Tom is arrested. The next day, the campus hears the story of Tom's humiliation, and although Herb is at first proud of his son, when he learns that Tom pulled away from Ellie, he crumples in grief. Laura, overcome with sadness and anger, tells Bill in private that she blames him for bullying Tom by imposing a rigid definition of "manliness," and insists that real men can be gentle and considerate. She then declares that she is lonely and depressed and wishes she had helped Tom prove himself with her, after which Bill retorts that she wants to mother a boy rather than to love a man. When Laura asks why he refuses to let her love him, Bill storms off without reply. Laura looks for Tom in his room, only to discover a series of half-finished suicide notes. She searches the school grounds, finally locating him alone in the woods. There, Tom expresses his deep shame, and as Laura consoles him, her [H]sympathy and loneliness cause her to reach out for him. As they kiss, she says, "Years from now, when you talk about this-and you will-be kind." In the present, Tom visits Bill, who now lives alone in the dorm apartment. Bill, still cold, gives Tom a letter he found among Laura's belongings. In the garden, Tom reads the letter she wrote to him stating that she appreciates the loving novel he wrote about their relationship, but feels that she sacrificed Bill for Tom, because the boy was easier to save than the marriage. Now sad and alone, Laura wishes Tom a full and understanding life, and assures him that, as he wrote in his book, "the wife always kept her affection for the boy."

"Note: Tea and Sympathy was based on the play of the same name by Robert Anderson, who also wrote the screen adaptation. Lead actors Deborah Kerr, John Kerr (who is unrelated to Deborah) and Leif Erickson recreated their roles from the 1953 Broadway production of the play, for which Deborah Kerr had won the Donaldson Award for best actress of the year and a special award for the best actress in her Broadway debut, and John Kerr had won the Donaldson Award and the New York Critics Award for best actor.
"Director Vincente Minnelli's autobiography quotes a letter from Anderson stating that the play's themes included: "An essential manliness which...consists of gentleness, consideration...and not just of brute strength. Another point, of course, is the tendency for any mass of individuals to gang up on anyone who differs from it...Also a major point is that when a person is in terrible trouble, we have to give him more than [H]tea and [H]sympathy."
"According to information in the file on the film in the MPAA/PCA Collection at the AMPAS Library, the play's inclusion of homosexuality, adultery and prostitution precipitated years of debate with the Production Code Administration, which at the time prohibited depictions of adultery and any depiction or inference of "sex perversion." After the play's success, several studios, including Samuel Goldwyn's company, Warner Bros., M-G-M, Twentieth Century-Fox and Columbia, approached PCA heads Joseph I. Breen and Geoffrey Shurlock about how to write a screenplay adaptation that could receive a seal. In numerous memos dated late 1953 found in the film's PCA file, Breen and Shurlock replied that the basic story was unacceptable. During a 29 Oct 1953 meeting between Shurlock, Goldwyn, Anderson and the play's New York director, Elia Kazan, Anderson stated that he would not change any of the "offending" elements. In the months that followed, several revisions were suggested to Shurlock by many writers, including making "Bill Reynolds" seem threatened by "Tom Robinson Lee's" interest in "Laura," rather than titillated by him; adding a punishment for Tom and Laura (which Shurlock rejected, saying it martyred them); and clarifying that Tom is not homosexual but merely different from the other boys.
"DV reported on 16 Dec 1953 that Anderson was considering forming an independent company in order to produce a film version of the play without a Code seal. That version was to be directed by Kazan and be supported by The Playwrights Company, the theater group that had produced the Broadway play. That article asserted "If '[H]Tea' goes out without a Seal-as it is bound to do if done independently-the film will constitute another test of the Code and the extent to which exhibitors are willing to buck it." Later that month, Goldwyn was quoted in a Var piece as complaining that the Code was "behind the times." [The first major production to be released without a Code seal, The Moon Is Blue (see above), was released in Jul 1953.] In Apr 1954, NYT noted that Anderson still planned an independent production, to be filmed on the East Coast.
"M-G-M bought the film rights to the play in Jul 1954. According to a Sep 1954 DV article, Anderson was paid $100,000 for the rights and would receive another $300,000 if he provided a script that gained approval from the Code. On 28 Apr 1955, after a revised script was once again denied a Code seal, the studio appealed the decision with the MPAA. By late Aug 1955, Shurlock and staff member Jack Vizzard agreed to a page-by-page review of the script, and on 1 Sep 1955, Sherlock sent a letter to M-G-M head Dore Schary assuring him that the script, if filmed exactly as written, would meet Code standards. After a 25 Sep 1955 NYT article stated that the play's main themes had not been significantly altered, National Catholic Legion of Decency leader Rev. Thomas F. Little sent a letter to Loew's, Inc. asking to see the script for himself. Shurlock responded to Little that his office was dismayed by the NYT article and that Schary had "disavowed its implications." After including Little's suggestion that Laura's final letter state that Tom is happily married, the film was awarded a Code seal on 20 Jul 1956, and the Legion eventually gave it a "B" rating.
"The final film version differed from the play in that it removed the suggestion that Tom or Bill held any latent homosexual tendencies and did not include a scene in which Tom swims in the nude with a gay music teacher. In addition, the film adds a flashback framing structure, in which Tom returns to a school reunion and, after reminiscing about the past, reads the letter from Laura expressing her remorse at having slept with him, an act that destroyed her marriage. The play ended with Laura's famous line, "Years from now, when you talk about this-and you will-be kind." In the film, the line ends the flashback.
"Although, as noted above, Erickson recreated the role of Bill from the Broadway production, on 31 Oct 1955, a "Rambling Reporter" item in HR stated that at that time, M-G-M wanted Burt Lancaster to play the role of Bill. An Apr 1956 HR news item listed Dick York as the film's star. According to a Jul 1956 NYHT article, the beach scene was filmed at Zuma Beach, CA.
"Upon its release, the film garnered mainly positive reviews, although the LAT review asserted that the film would disappoint fans of the play. The NYT called the film "strong and sensitive" but pronounced the letter at the end "prudish and unnecessary." For her performance, Deborah Kerr received a BAFTA nomination for Best Actress of 1956."
Source citations:
Motion Picture Herald Product Digest 29 Sep 56, p. 90.
Variety 26 Sep 56, p. 6.
New York Times 28 Sep 56, p. 24.
Film Daily 25 Sep 56, p. 6.
Hollywood Reporter 25 Sep 56, p. 3.
Box Office 6 Oct 1956.
Daily Variety 26 Sep 56, p. 3.
Box Office 29 Sep 56, p. 28.
Hollywood Reporter 6 Apr 1956, p. 12.
Hollywood Reporter 25 May 1956, p. 10.
New York Times 25 Sep 1955.
Daily Variety 2 Decorations 1953, p. 1, 11.
Daily Variety 16 Decorations 1953.
Variety 30 Decorations 1953.
New York Times 4 Apr 1954.
Daily Variety 20 Jul 1954.
Daily Variety 22 Sep 1954.
Hollywood Reporter 31 Oct 1955, p. 2.
Hollywood Reporter 4 Apr 1956, p. 2.
Hollywood Reporter 12 Apr 1956, p. 2.
Hollywood Reporter 8 Nov 1956, p. 6.
Los Angeles Examiner 4 Oct 1956.
Life 8 Oct 1956, pp. 139-141.
Time 8 Oct 1956.
New York Herald Tribune 1 Jul 1956.
Los Angeles Times 4 Oct 1956. censorship motion pictures, and sexuality sexuality motion pictures censorship and ratings sexuality motion pictures, and homosexuality motion pictures, and sexuality censorship, and homosexuality Tea and Sympathy 16110 Teaching by Moving Pictures Los Angeles Times
Sept. 20, 1908
V 15 This article notes that moving pictures are "Already in Use in Medical Schools and May Be Extended for Other Work." science medicine motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures medicine, and motion pictures motion pictures, and medicine Teaching by Moving Pictures 19510 Technology Assessment Advisory Council Meeting Files Office of Technology Assessment Records
1978
The files in the Records of the Office of Technology Assessment Records give insight into the way business leaders, researchers, and government leaders thought about technological change during the late 1970s. The OTA, a Congressional agency, produced dozens of reports from the 1970s until its demise in 1995, on communication technologies. These files are in RG 444, National Archives located in the main building in Washington, D. C. Office of Technology Assessment (OTA) preservation communication revolution history, and new media history, and new media communication revolution, and second industrial revolution history OTA archives microelectronics second industrial revolution history, break with new media communication revolution Technology Assessment Advisory Council Meeting Files 38220 Telediagraph and Telediagram Zion's Herald
May 3, 1899
77 18 552 This article says that newspaper offices in five major cities now have installed technology that can transmit pictures by telegraph wire. The inventor is Ernest A. Hummell.
"Two new words have been added to our vocabulary. These are made necessary by the invention of an apparatus for transmitting pictures by telegraph. It is called a telediagraph, which is the best word to express 'long distance drawing,' and is analogous to the word telegraph, which expresses the idea of long-distance writing. Following the analogy, the product is a telediagram. The inventor has succeeded in transmitting pictures from Chicago to Boston, and is looking for immediate returns from his invention. The machines are very complicated and require the utmost care in adjusting one to another and in synchronizing them. There are now five of them installed in newspaper offices in Boston, New York, Philadelphia, Chicago, and St. Louis, and furnish additional evidence of the powers of electricity when utilized by science. Pictures may be sent from Chicago to Boston, exactly as they are drawn, in less time than it takes to make the original drawing. The greatest difficulty experienced in former efforts to send pictures by electricity was found in making the transmitting instrument and the receiving instrument run together. This has been overcome by making them run by clockwork. The inventor is Ernest A. Hummell, born in Germany thirty-four years ago, and now living at St. Paul, Minnesota. He is an expert watchmaker, and has succeeded in perfecting his new invention without borrowing money or in any manner impairing his rights in it." wood engraving journalism magazines, and photography telegraph photography and visual communication telegraph, and photography photography, and telegraph facsimile photography, and facsimile facsimile, and telegraph telegraph, and facsimile electricity electricity, and photography photography, and electricity photography, and halftones telegraph, and halftones half tones, and telegraph news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving Hummell, Ernest, and pictures by wire Germany, and pictures by wire Germany non-USA non-USA, and pictures by wire magazines photography Telediagraph and Telediagram 37400 The 'Telephot' Current Literature
Aug. 1903
35 2 149 This article summarizes and uses excerpts from Dr. A. Gradewitz article "The 'Telephot,' a Novel Apparatus for Photographing at Great Distances," in the Scientific American, June 27, 1903. See under Gradewitz. telephotography journalism fame celebrity celebrity culture magazines, and photography magazines photography photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, and zoom lens zoom lens, and cameras cameras, and telephoto lens telephotographyy, and limitations modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel photography, and exposure time news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines newspapers, and telephotographyy telephotographyy, and newspapers telephotographyy, and exposure time photography, and exposure time military communication telephotographyy, and military military communication, and telephotographyy instantaneous photography telephotographyy, and instantaneous instantaneous photography, and telephotographyy photography, and telephot cameras, and portable color color, and telephotographyy telephotographyy, and color personality The 'Telephot' 37370 Telephotography Scientific American
April 1, 1899
80 13 202-03 This article discusses telephotography. It discusses its use in the Spanish American War and suggests that it has great potential for military applications. The article talks about how this kind of photography works, the exposure time required, and the fact that anyone can use it. It mentions photographic plates with pictures that have been magnified seven times.
Of the Spanish American War, the author says: "During the late war with Spain, the desirability of procuring photographic negatives with the aid of a telephotograph became very apparent. Mr. Dwight L. Elmendorf, of New York city, who has made a special study of this method of photography, followed the campaigns in Cuba, both on sea and land, and with the aid of the telephotographic camera obtained some remarkable photographs of troops in action. Many of these photographs were taken at a great distance from the scene of action, so that the photographer was in comparative safety while engaged in taking the views. The results obtained, however, do not justify this supposition, as, from all appearances, the men appear to be in close proximity to the camera, and one would judge that the intrepid photographer was having a hot time of it. There are immense possibilities of a very practical nature in the use to which this method of photography can be put, and it should prove of great value in warfare in determining the nature of the enemy's country, in making observations of special objects and fortifications, and in obtaining a record of the positions of troops while maneuvering or in action, while they are at a considerable distance."
With regard to exposure time, the article says that the "time of exposure is, of course, much longer with the telephotographic attachment than with the photographic lens alone: that is, it is approximately proportional to the square of the magnification. For example: If, with the photographic lens alone, the exposure would be 1/44 of a second, with the telephotograph adjusted to magnify eight times, it would require an exposure of one second; but there is considerable latitude in exposure in a telephotograph, and it is well enough to give a little more time than the rule calls for."
As for easy of use: "The principles underlying the use of the camera for this kind of photography are so simple that there is no reason why any one having any taste for photography should not quickly become accustomed to its manipulation, with results that will be found most novel and gratifying. The expense if trifling, as the ordinary camera and lens may be used, the extra length being obtained by means of the box extension at the back of the ordinary camera." telephotography journalism fame celebrity celebrity culture magazines, and photography magazines photography photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, and zoom lens zoom lens, and cameras cameras, and telephoto lens telephotography, and limitations military communication telephotography, and military military communication, and telephotography modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel photography, and exposure time news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines newspapers, and telephotography telephotography, and newspapers war war, and photography war, and telephotography telephotography, and war photography, and Spanish American War Spanish American War,and telephotography telephotography, and exposure time photography, and exposure time personality American Telephotography 37050 Telephotography Living Age
June 13, 1908
257 3336 689-91 This article begins by explaining the distinction between "telephotography, or the photography of objects at a distance," and "phototelegraphy, or the transmission of a photographic image between distant points by means of electricity." (689) The article then discusses the telephoto lens, how it works and its limitations. Among the disadvantages: "Except at low magnifications the definition given by a telephoto lens is not equal to that given by an ordinary high-class lens of the same focal length. Also, as the amount of light passed is greatly decreased by the introduction of the 'negative' element, the telephoto lens is relatively a slow lens. Indeed the orginary rule for exposure is that the exposure which would be necessary if the front of 'positive' lens were used along must be multiplied by the square of the magnifications. If the manification is ten or twelve diameters, instantaneous telephotography become hopelessly impossible. But, both as regards definition and shortness of exposure, the telephoto lens, if properly handled, will do a great deal more than even experts seemed to think possible a few years ago." (690) Still, the telephoto lens is somewhat unpopular. It generally needed a long hood to prevent reflections internally from the lenses' surfaces.
The article, though, points out that the telephoto lens gives "new power" to the photographer. (690) Naturalists and others who wish to photograph nature will be empowered, as will architects and engineers. The article also discusses the advantages this instrument can give to the military and especially the navy. It also says that telephotograhy will "render Press photography much less of a glaring nuisance to public characters than it is under ordinary conditions." (691) journalism fame celebrity celebrity culture magazines, and photography magazines photography photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, and zoom lens zoom lens, and cameras cameras, and telephoto lens telephotography, and limitations electricity electricity, and photography photography, and electricity military communication telephotography, and military military communication, and telephotography telegraph telegraph, and photography photography, and telegraph modernity modernity, and photogaphy photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel photography, and exposure time news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines newspapers, and telephotography telephotography, and newspapers personality telephotography Telephotography 6690 Television Declared Ready to Broadcast, Starting Sectionally, With Relays Later New York Times
Aug. 11, 1933
18 This article reports on progress in developing television. home history electricity motion pictures history and new media television, and history history, and motion pictures home and new media television, and home home, and television cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment modernity modernity, and motion pictures motion pictures, and modernity new way of seeing television, and space and time space and time television, and time motion pictures, and space home, and electricity electricity, and home electricity, and home entertainment television seeing at a distance television Edison, Thomas Television Declared Ready to Broadcast, Starting Sectionally, With Relays Later 6650 Television Is Evolving at Slow but Sure Pace New York Times
April 22, 1928
145 This article reports on the progress of television research. The article's subtitle reads: "De Forest, Pupin and Others Are Pessimistic As to Early Use of Radio Vision Sets in the Home Much Research Remains to Be Done Present Apparatus Is Too Complex." home history De Forest, Lee electricity motion pictures history and new media history, and motion pictures home and new media television, and home home, and television home entertainment modernity modernity, and television television, and modernity new way of seeing television, and space and time space and time television, and time television, and space De Forest, Lee, and television television, and Lee De Forest home, and electricity electricity, and home electricity, and home entertainment television radio radio, and television television, and radio seeing at a distance Television Is Evolving at Slow but Sure Pace 7430 Television Promised by French Inventor New York Times
March 15, 1924
17 non-USA television, and history of television television, and origins France, television France Television Promised by French Inventor 6630 Televisor Lets Radio Fans ‘Look In’ As Well As Listen New York Times
April 25, 1926
XX 17 This article reports on an early demonstration of television. The article's subtitle reads: "John L. Baird of Scotland Demonstrates Apparatus Which Sends and Detects Pictures of Moving Objects." home history electricity motion pictures history and new media television, and history history, and motion pictures home and new media television, and home home, and television cameras cameras, portable cameras, home movie cameras home entertainment modernity modernity, and motion pictures motion pictures, and modernity new way of seeing television, and space and time space and time television, and time motion pictures, and space home, and electricity electricity, and home electricity, and home entertainment television television, and John Baird Baird, John, and television seeing at a distance Televisor Lets Radio Fans ‘Look In’ As Well As Listen 36090 Ten Commandments Cecil B. DeMille Paramount Pictures Corp.
1956
Making films abroad sometimes offered movie makers freedom to deal with topics in ways that might not have been possible in the United States. Cecil B. DeMille shot much of his epic film, The Ten Commandments, in Egypt where new movie making technologies such as 70mm film, CinemaScope, and VistaVision allowed him to emphasize the area’s spectacular settings. DeMille took inspiration from classical painters and paid much attention to the use of color in the film. In Egypt, DeMille found it possible to create, according to historian Peter Lev, “a level of sexual display scanty costumes and suggestive scenes which would have otherwise encountered censorship problems in the United States and many other countries,” concludes one film historian. There were other matters with which religious purists might have quarreled. DeMille’s movie dealt with thirty years of Moses’s life not chronicled in the Bible. And in it “emphasis on freedom and the blending of religious and political discourses,” it reflected contemporary American Cold War values. When Eric Johnston, president of the MPAA, negotiated a film exchange with the USSR in 1958, the Soviets declined to take this movie as part of the package. Motion Picture Association of America (MPAA) Soviet Union Khrushchev, Nikita Eisenhower administration motion pictures USSR non-USA motion pictures, and foreign markets motion pictures, and foreign policy Eisenhower, Dwight D. presidents and new media Eisenhower, Dwight D., and motion pictures Johnston, Eric Johnston, Eric, and USSR MPAA Motion Picture Export Association Khruschchev, Nikita, and motion pictures motion pictures, and Nikita Khruschchev Ten Commandments religion values motion pictures, and religion motion pictures, and values DeMille, Cecil motion pictures, and American-interest films hybrid films values motion pictures, and color color motion pictures, and VistaVision Ten Commandments 15990 Ten Million Persons See Los Angeles Every Night Los Angeles Times
Nov. 29, 1914
II 1, 10 This article talks about the growth of the motion picture industry and the increasing place that Los Angeles has in that business. “When the lights wink out in the motion picture houses of this and other lands and the projection machines begin their sputtering songs, 10,000,000 armchair travelers mount a magic carpet that whisks them away on their nightly visits to modern Bagdad [sic] -- Los Angeles, the photo-play capital of the world. [my emphasis]
“Springing into life with the rapt suddenness that a plant springs and blooms at the behest of an Indian magician, the motion-picture business has taken on mammoth proportions in much less than a generation and has secured a sure place in the affections of untold millions of ‘fans.’ And it is but in its infancy, say not only those who make the pictures, but the candid even the scoffers at this baby in the family of Thepis.” Articles says that L.A. makes 85 percent of the films made in the USA today and the that the movie “field has only been scratched….” L.A. has scenery compared to southern California. There is a growing demand for American movies abroad in Europe, South America, Australia.
The subtitle of this article says of Los Angeles: "It’s the Photoplay Capital of the World, and Wonder Cities of Steel and Concrete Spring up to House this Vast Industry." nationalism magic Los Angeles motion pictures, and Americanization motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences metaphors metaphors, and magic carpet motion pictures, as magic carpet magic, and motion pictures motion pictures, and magic metaphors, and Baghdad motion pictures, and U.S. films abroad nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism education motion pictures, and education education, and motion pictures Ten Million Persons See Los Angeles Every Night 27600 Tests that Pornography Fails [editorial] Christian Science Monitor
July 10, 1986
15 This articles asks: "Is a crusade against pornography needed, as Attorney General Meese says? The issue is one of tone. Crusades can be indiscriminate, trampling the rights of many to honest, wholesome expression." It goes on to says that "It is not sexual content of itself that necessarily makes pornography deplorable. It is how it fails to pass some fundamental but easily understood tests: Does the material strengthen human affections, deepen trust, elevate purpose, safeguard the individual and society's interest in stable, liftetime bonds? A public effort to make such a review widespread would be welcome." presidents, and new media Reagan administration values sexuality sexuality obscenity Meese Commission law censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography pornography, judicial setbacks Playboy pornography, and Playboy Playboy, and pornography values Reagan, Ronald Tests that Pornography Fails [editorial] 38140 That New Telectroscope New York Times
April 3, 1898
22 This article discusses a new invention, the telectrsocope, by Jan Szczepanik in Vienna, that can transmit pictures and printed material such as manuscript over long distances by telegraph wire. The pictures can all be sent in color. This instrument may make the current telegraph superfluous. The subtitle of the article reads: "Details of the Instrument That Is to Transmit Pictures Over a Telegraph Wire. Szczepanik's Weird Machine. Claims of the Polish Schoolmaster as to What His Telectroscope Will Do and How It Does It -- A Scheme for the Transmission of Colored Rays." telegraph photography and visual communication telegraph, and photography photography, and telegraph photography, and telectroscope telectroscipe, and photography color color, and photography photography, and color color, and telectroscope facsimile photography, and facsimile facsmile, and telegraph telegraph, and facsmile photography telectroscope That New Telectroscope 14340 Theatres Can Open on ‘Idle Mondays’ New York Times
Jan. 20, 1918
2 This article reports on the effort to conserve electricity during World War I and when motion picture theaters could be open. motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity motion pictures, and New York New York, and motion pictures advertising Theatres Can Open on ‘Idle Mondays’ 14520 Theatres to Open for Shows To-Day; … Moving Pictures Barred New York Times
Dec. 22, 1907
2 This article concerns Sunday blue laws. censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and Sunday movies motion pictures, and blue laws censorship, and blue laws Theatres to Open for Shows To-Day; … Moving Pictures Barred 38930 The Theatrical Muck-Raker Answered Current Literature
June 1909
46 6 669-71 This article responds to a previously published piece in this magazine by Walter P. Eaton which severely indicted the American theater and theatrical managers. This article notes that newspapers provide a dual picture of the theater. Quoting Mrs. Leslie Carter: "'While in one column of the newspaper appears an interview with some celebrated "star" of the church, in which the public is warned against the danger of certain plays in the theater, in another column, on the same page, the newspaper gives its readers a blood-curdling and hideous picture of 670/671 some actual drama in real life that would be quite impossible of representation on any stage because of its moral ugliness.'" (670-71) The article quotes Miss Jeannette Gilder's in Putnam's Monthly saying that "'A censorship is a futile officer.'" (670) It also begins by citing Jane Addams who extolled the American stage for attacking serious social problems on which the church and press were silent. Addams listed about a dozen plays that fell into this category. (669) theater stage public relations journalism fame entertainment, and journalism entertainment celebrity critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater celebrity culture theater and stage motion pictures, and stage stage, and motion pictures celebrity, and actors actors, and celebrity fame, and actors actors, and fame actors acting actors, and fame before movies actors, and status of news and journalism actors, and journalists journalism, and actors personality actors, and personality personality, and actors actors, and public relations public relations, and actors advertising and public relations actors, and stars (origins) Addams, Jane, and theater journalism, and entertainment entertainment, and journalism newspapers, and theater theater, and newspapers theater, and managers theater managers, and decadence Addams, Jane advertising motion pictures theater The Theatrical Muck-Raker Answered 13330 Theodore Roosevelt: The Picture Man Moving Picture World
Oct. 22, 1910
7 17 920 This article says that “Colonel Roosevelt has certainly had, and certainly is having, a great and, it must be said, a historic career. He is one of those men of whom, as we have hinted, the future historian must take decided cognizance. His is such an overmastering personality that we go the length of expressing the hope that moving pictures of him may be preserved in safe custody for future reference. What would the public of this country give to-day to see Abraham Lincoln or George Washington in their habits as they lived, in moving picture form?…” nationalism journalism history celebrity photography motion pictures history and new media motion pictures, and history history, and motion pictures Roosevelt, Theodore motion pictures, and Theodore Roosevelt Roosevelt, Theodore, and motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures presidents and new media photography and visual communication personality personality, and motion pictures motion pictures, and personality celebrity culture Theodore Roosevelt: The Picture Man 37240 Thirty-Eight Masterpieces of the Altman Collection New York Times
April 5, 1914
SM 8 This article describes the artwork that was reproduced in the New York Times using the paper's new rotogravure process. See also related stories on this topic in this issue of the paper. The article's subtitle reads: "These, with the Thirteen Pictures Reproduced in Last Sunday's New York Times, Make up the Great Collection That Will Shortly Be Housed in the Metropolitan Museum." rotogravure journalism history magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies advertising Thirty-Eight Masterpieces of the Altman Collection 15350 Throng at Bunny Funeral New York Times
April 29, 1915
14 The subtitle to the article reads: "Film and Legitimate Stage Actors Attend Services at Elks’ Club." theater stage fame celebrity actors acting photography photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars Bunny, John Bunny, John, and celebrity culture theater and stage motion pictures, and stage stage, and motion pictures Throng at Bunny Funeral 37250 The Times Pictures Praised by Critics New York Times
April 6, 1914
9 This article reports the reaction of several artists and others to the New York Times publication of art work using the rotogravure process. Among those quoted are Charles Dana Gibson and John G. Anar, President of the National Arts Club. rotogravure journalism history magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies Gibson, Charles Dana, and rotogravure process advertising Gibson, Charles Dana The Times Pictures Praised by Critics 37260 The Times' Rotogravure Presses. From the Editor and Publisher New York Times
April 15, 1914
12 Here the editor and publisher of the New York Times explains the paper's new rotogravure process and how it is "an improvement of the slow and expensive process of photogravure." It uses a rotary press and is thus much faster. The picture is etched on a copper cylinder rather than on a copper plate; it uses fewer rollers than an ordinary press. Other newspaper using this process in 1914 included the Boston Sunday Herald, Philadelphia Public Ledger, and the Chicago Tribune. The article notes that the rotogravure process cost equals about that of half-tone printing. rotogravure journalism history magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies rotogravure process vs. photogravure process photogravure process vs. rotogravure process advertising The Times' Rotogravure Presses. From the Editor and Publisher 42180 The Times's Magazine Supplement New York Times
May 18, 1897
6 This article is reprinted from the St. Agustine (Fla.) Record and it says that the New York Times Sunday supplement recently devoted "a couple of page to snap shots of the Grant parade." It says that the Times's Sunday supplement's use of halftone pictures is "worthy of the highest commendation." news and journalism Sunday newspapers journalism, and halftones photography photography, and newspapers newspapers, and photography photography, and halftones newspapers, and first halftones Sunday newspapers, and halftones photography and visual communication journalism The Times's Magazine Supplement 37280 Times's Pictures Win British Praise New York Times
April 19, 1914
C 4 This article begins by saying that "It is not too much to say that the New York Times Easter colored supplement, illustrating the gems of the Altman collection, and, even more, the first rotogravure supplement, caused a general sensation in art circles here and elicited many commendations on the enterprise displayed, as well as what is termed the immernse service rendered to the cause of art." It quotes one the mural painter Frank Brangwyn as saying of the rotogravure pictures: "I have neer seen anything as good even in high-class magazines.... You can get a much better and truer idea of the original from these rotogravures than from small magazine pictures...." rotogravure journalism history magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies advertising Times's Pictures Win British Praise 29460 Titantic James Cameron
1997
motion pictures and popular culture censorship and ratings digitization censorship, and digitization digitization, and censorship V-chip television motion pictures, and digital filters sexuality digital media digital cinema motion pictures self-regulation censorship Titantic 13670 To Boom Germany in Motion Pictures. Big Publicity Plan Launched for the Capture of Foreign Markets New York Times
Nov. 8, 1913
1 This articles discusses Germany's effort to expand the global market for its motion pictures. nationalism history motion pictures nationalism motion pictures, and nationalism nationalism, and motion pictures motion pictures, foreign nationalism and communication history and new media motion pictures, and history history, and motion pictures motion pictures, and German films abroad non-USA Germany Germany, and motion pictures motion pictures, and Germany modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures, and Germany abroad To Boom Germany in Motion Pictures. Big Publicity Plan Launched for the Capture of Foreign Markets 7460 To Broadcast Baseball by Radio Movies Popular Science
May 1923
102 67 radio television television, and origins radio radio movies television, and baseball To Broadcast Baseball by Radio Movies 28490 To City Desk and Entertainment Editor PR Newswire
July 18, 1985
This news release says that according the Parade magazine, at least sixty major movies during the past five years have portrayed "the use of illegal drugs in a positive, upbeat way." Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation National Association of Theatre Owners (NATO) Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA motion pictures and popular culture television motion pictures, and drug use motion pictures, and substance abuse television, and drug use television, and substance abuse Valenti, Jack, and substance abuse Valenti, Jack, and drug use MPAA, and drug use rating system (U.S.), and drug abuse rating system (U. S.), and substance abuse CARA, and drug use CARA, and substance abuse rating system (U. S.), and controversies CARA, and rating controversies To City Desk and Entertainment Editor 14710 ‘To Make Good Citizens the Theatre for Children’ New York Times
Nov. 12, 1911
SM 7 The subtitle of this article reads: "Miss Alice Minnie Herts Outlines Interesting Plan for a Permanent Institution of National Scope." The article goes on to quote Herts. “‘To commercialize the imagination of the child seems to me to be a terrible thing,’ averred Miss Herts, in explaining the rules of the children’s theatre. ‘The object of this whole scheme is to entertain, educate and develop children poor children. It is not to declare dividends!’” reform citizenship children censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children violence violence, and motion pictures motion pictures, and violence motion pictures, and crime audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and reformers reformers, and motion pictures critics critics, and reformers reformers, and critics law motion pictures, and education education, and motion pictures motion pictures, and citizenship citizenship, and motion pictures women women, and censorship women, and motion pictures motion pictures, and women censorship, and women education ‘To Make Good Citizens the Theatre for Children’ 15030 To Photograph in Colors Chicago Daily Tribune
Jan. 19, 1896
33 The subtitle to this article reads: "Two Chicago Men Near the Goal." Lippmann process photography Lippmann process, and color photography color, and photography photography, and color photography and visual communication color color, and Lippmann process To Photograph in Colors 14030 To Prohibit Indecent Pictures New York Times
Feb. 28, 1900
9 This article notes that “Anthony Comstock appeared before the Assembly Codes Committee to urge favorable action on Senator Wagner’s bill making it a misdemeanor to exhibit any indecent moving pictures in slot machines. The committee decided to report the bill favorably. It has already passed the Senate.” censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings Comstock, Anthony Comstock, Anthony, and motion pictures motion pictures, and Anthony Comstock censorship, and Anthony Comstock Comstock, Anthony, and movie censorship To Prohibit Indecent Pictures 700 To Take Movies Up in Air New York Times
July 2, 1918
11 The subtitle of this article reads: "Lieut. Webb of Mail Service Will Carry Operator and Camera." motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel To Take Movies Up in Air 35550 To the Ends of the Earth (aka The Twenty Seventh Day, Assigned to Treasury) Robert Stevenson Columbia Pictures Corp.
1948
In the 1930 motion picture Production Code, drug addiction and trafficking could not be shown. That prohibition was loosened to permit Columbia Pictures to produce a movie called To the Ends of the Earth (1948), starring Dick Powell, about international drug smuggling. The MPAA amended the Code’s restrictions on drugs to read: “The illegal drug traffic must not be portrayed in such a way as to stimulate curiosity concerning the use of, or traffic in, such drugs; nor such scenes be approved which show the use of illegal drugs, or their effects, in detail.” After the movie, though, the MPAA repealed this amendment and reinstated the total ban. In 1956, the MPAA again tried to eliminate its “flat prohibition” of the topic but in a way that would not encourage the use of illegal narcotics.
Plot Summary from American Institute Catalogue: "In the year 1935, following a United Nations-sponsored meeting of the World Narcotics Commission, the U.S. Treasury Department, Bureau of Narcotics undertakes a crackdown on the worldwide opium trade. Assigned to the investigation is Treasury Department agent Mike Barrows, who is head of the department's San Francisco bureau. Mike is familiar with the ruthless ways of the drug traffickers, having witnessed an unmarked Japanese freighter jettison one hundred Chinese slaves off the San Francisco coast to gain enough speed to outrun a U.S. Coast Guard patrol. A life preserver bearing the name Kira Maru, and a view of the offending captain, as seen through binoculars, are the only clues Mike has to go on as he begins his investigation in Shanghai. There the captain of the ship is tried in absentia and is sentenced to only thirty days in prison if found, angering Mike. Following Mike out of the courtroom is Lum Chi Chow, the Chinese Commissioner of Narcotics, who later plays a recording for Mike of a man talking about the Kira Maru and the 200 slaves it transported to Egypt to plant poppies. Although the exact location of the Egyptian poppy field is unknown to investigators, Lum believes that it will be learned when the flowers are harvested, which must occur five days after the petals fall. Later, while searching notorious drug dealer Nicolas Sokim's rickshaw garage, Mike meets Ann Grant, the widow of an American engineer, who is about to send her young Chinese ward, Shu Pan Wu, to San Francisco. After Sokim fails in his attempt to throw Mike off his trail, he kills himself by ingesting poison. As it is unlikely that the drugs will reach Shanghai now that Sokim, the Chinese contact man, is dead, Lum sends Mike to Egypt, where the poppies are now ready for harvest. There Mike discovers a trail of evidence pointing to Ann's complicity in the elaborate drug smuggling operation. The already harvested opium, it is learned, is being transported across the desert in a camel caravan to Beirut, with $1,000,000 in narcotics hidden in the stomachs of the camels. Mike follows the packages containing the drugs to Havana, where the opium is to be refined before it is sent to the United States. Ann's connection with the smuggling operation appears certain when Mike discovers her and Shu Pan in Havana, but he decides to follow the drugs to their final destination before making any arrests. After watching the opium, which is now packed into butter cartons, being loaded onto a ship, Mike boards the ship for the journey to New York. En route, a fire is set in the ship's galley as a diversion, and the packages containing the drugs are thrown overboard with weights attached to them. When Mike discovers evidence that the drugs were ejected from the ship, he notifies the U.S. Coast Guard, which sends a patrol boat out to meet the ship. Mike forces Ann and Shu Pan to accompany him to the dumping site, where they discover a fishing boat already there to pick up the drugs. A gun battle ensues, during which Shu Pan makes a grab for Mike's gun, thereby revealing herself to be the head of the drug smuggling ring. The revelation does not surprise Mike, however, who has known the truth about Shu Pan ever since he witnessed her strange behavior during the shipboard fire. As Mike anticipated that Shu Pan would grab his gun, he loaded it with blanks, thus foiling her attempts to shoot him. With Shu Pan's arrest, Mike brings to an end a worldwide drug smuggling operation."

"Note: Working titles for this film, which was presented in a semi-documentary style with occasional voice-over narration, were Assigned to Treasury and The 27th Day. The film contains the following written onscreen dedication: "A story based on actual incidents from the files of the United States Department of Treasury, to whom this picture is gratefully dedicated." According to 14 May 1947 HR news item, producer Sidney Buchman took over direction of the picture when Robert Stevenson fell ill, and when Stevenson left for London to fulfill a prior commitment to Alexander Korda. A Jan 1947 Box article indicates that the film was made with the approval of Treasury Department Narcotics Commissioner Harry J. Anslinger, who portrayed himself in the film.
"According to an Aug 1946 LAT news item, business tycoon Jay Richard Kennedy sold his original story to Columbia for $100,000. A 13 Oct 1946 LAT article notes that Kennedy was inspired to write his story after learning about the international drug trade from Harry J. Anslinger. Contemporary news items noted that, in an unprecedented action, the PCA amended clauses prohibiting the detailed portrayal of drugs in film to accommodate this picture. The LAT article credits Kennedy and other "highly placed persons in the government" with having persuaded the PCA to amend its restrictions on such a picture.
"According to the file for the film in the MPAA/PCA Collection at the AMPAS Library, the Production Code's provision concerning drugs, which stipulated that "illegal drug traffic must never be presented," was later amended to allow "the illegal drug traffic to be presented provided it does not stimulate curiosity concerning the use of or traffic in such drugs and provided that there shall be no scenes approved which show the use of illegal drugs or their effects in detail."
"To the Ends of the Earth marked the film debut of Maylia, formerly known as Gloria Chinn, who was the wife of Chinese actor Benson Fong. Although a studio publicity item dated 4 Aug 1947 reported that Dick Powell's personal houseboy, Dick Watanabe, was set for a role in the picture, his appearance in the released film has not been confirmed. Some background footage was filmed in Shanghai, Cairo, Havana and New York. Studio publicity material indicates that the scene in which one hundred Chinese slaves are sent to their deaths in the Pacific Ocean was filmed in the Santa Catalina Island Channel, off the coast of southern California. Publicity material also notes that the marine gun fight sequence, which was directed by Larry Butler, was filmed in the Los Angeles Harbor. The Variety review indicates that the final cost of the film was approximately $2,000,000. Although studio records indicate that filming was completed on 19 Feb 1947, HR production charts suggest that production lasted until 23 May. Dick Powell and Signe Hasso recreated their roles for a Lux Radio Theatre broadcast of the story on 23 May 1949."

Source citations:
Box Office 11 Jan 1947.
Box Office 24 Jan 1948.
Daily Variety 19 Jan 48, p. 3.
Film Daily 19 Jan 48, p. 3.
Hollywood Reporter 18 Nov 46, p. 8.
Hollywood Reporter 29 Nov 46, p. 14.
Hollywood Reporter 28 Mar 47, p. 8.
Hollywood Reporter 14 May 47, p. 11.
Hollywood Reporter 23 May 47, p. 16.
Hollywood Reporter 19 Jan 48, p. 3, 12
Hollywood Reporter 17 Feb 48, p. 6.
Los Angeles Times 5 Aug 1946.
Motion Picture Herald Product Digest 10 Jan 48, p. 4010.
Motion Picture Herald Product Digest 24 Jan 48, p. 4030.
New York Times 13 Feb 48, p. 26.
Variety 21 Jan 48, p. 8. self-regulation drug abuse motion pictures, drug trade motion pictures motion pictures, and drugs drugs, and motion pictures censorship and ratings Production Code, and drugs PCA, and drugs Shurlock, Geoffrey, and drugs Production Code, and 1948 revision motion pictures, and drugs PCA Production Code Production Code (motion pictures) Shurlock, Geoffrey substance abuse Production Code Administration (PCA) To the Ends of the Earth (aka The Twenty Seventh Day, Assigned to Treasury) 37290 Today's Christmas Edition of the New York Times Is the Finest Ever Issued by a Newspaper New York Times
Dec. 6, 1914
XX 1 The subtitle of this article summarizes its content: "Color Section Containing Reproductions of Boutet de Monvel's Joan of Arc Paintings an Unparalleled Achievement -- Together with the Rotogravure and Halftone Sections, the Special Articles and Other Features. It Marks New Era in Journalism." rotogravure journalism history magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies religion religion, and newspapers newspapers, and religion religion, and photography photography, and religion advertising Today's Christmas Edition of the New York Times Is the Finest Ever Issued by a Newspaper 19760 A Top Aide's Close-Up of a President Who Never Says 'I'm Tired' U. S. News & World Report
July 12, 1965
59 2 22 An article that reveals Jack Valenti's deep admiration of President Lyndon B. Johnson. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA A Top Aide's Close-Up of a President Who Never Says 'I'm Tired' 23710 Toughened Child Pornography Bill Signed by Reagan Los Angeles Times
Nov. 8, 1986
2 3 See also: media See also: violence See also: sexuality This article gives an account of the Reagan administration's tough stance on child pornography. Reagan "signed legislation strengthening federal law against child pornography. The measure amends a section of law that prohibits the interstate transportation of children to engage in sexual activity for commercial purposes." conservatives Reagan, Ronald presidents, and new media Reagan administration values sexuality sexuality nudity motion pictures mass media media effects crime values religion censorship and ratings law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography Reagan, Ronald, and nudity nudity, and Ronald Reagan Reagan, Ronald, and pornography Reagan, Ronald, and secular humanism Reagan, Ronald, and liberalism Reagan, Ronald, and spiritual awakening addresses children children, and pornography pornography, and children Reagan, Ronald, and child pornography religion religion, and pornography pornography, and religion Reagan, Ronald, and religion Reagan, Ronald children, and media Toughened Child Pornography Bill Signed by Reagan 14590 Traces Crime to Nickel Theater Chicago Daily Tribune
April 14, 1907
3 The subtitle of this article reads: "Judge Cleland Says Juvenile Offenders Owe Downfall to This Cause. Has Law to Check It. Offers Ordinance Barring Children from Shows Unless Parents Take Them." This article has the following subheadings: “Cause of Every Juvenile Crime”; “Debauches the Imagination;” “Little Boy Attempts Robbery”; “Small Girls Find Ruin." children Chicago, IL censorship words vs. images images vs. words motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence motion pictures, and Chicago Chicago and motion pictures censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children images vs. print education motion pictures, and education education, and motion pictures Traces Crime to Nickel Theater 16000 Traffic Record. Are Booming Country Los Angeles Times
July 25, 1911
II 5 This article talks about efforts to spread "the name, fame and productiveness of California" and notes the work of public lecturers equipped with "mving-picture machines and many thousand feet of films descriptive of California" The subtitle to the article reads: "Many Homeseekers Expected from World Over; The Moving Picture Machines Show Resources …." Los Angeles motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences advertising and public relations motion pictures, and advertising advertising, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism education motion pictures, and education education, and motion pictures advertising Traffic Record. Are Booming Country 38890 The Tragedy and the Compensations of the Actor's Career Current Literature
Feb. 1907
42 2 188-89 This article comments on the nature of the actor's fame at a time when it was unlikely people could either hear or see the actor's performances after his death. It begins with a story about Michelangelo who was "said to have once gratified a whim of his own or of some exacting patron by carving a statue of snow. It may have been his masterpiece, but, under the warm rays of the sun, it quickly melted into a shapeless lump, leaving no record of its beauty. 'And this is what the actor does ever night,' Lawrence Barrett used to say; 'he is forever carving a statue of snow.'" (188)
The article cites actor Joseph Jefferson's observation that the work of painters, sculptors, and writers live on after their deaths, unlike that of the actor. It then reprints an excerpt from an article in Munsey's Magazine by Prof. Brander Matthews on the nature of the actor's fame. Matthews saw two advantages coming to the actors, however. One was that he was often given great wealth and fame while he was alive. (188) Matthews pointed out that the actor, because of a statue made of him, is well known but the sculptor is likely to be unknown. Similarly, the actor may be famous for his performance in a play but the audience is unlikely to know who the author of the play was. (189) A second advantage of the actor was that once dead, his reputation was unlikely to change. By contrast, the reputation of the painter, sculptor, and writer is likely to rise or fall in the years following his death -- all because his work has survived after him. (189)
The article quotes from poem by Campbell:

"For ill can poetry express
Full many a tone of thought sublime,
And painting, mute and motionless,
Steals but a glance of time. 188/189
But by the mighty actor brought,
Illusion's perfect triumphs come --
Verse ceases to be airy thought
And sculpture to be dumb." (188-89)

This article my be compared with the comedian Joseph Jefferson's assessment of the fleeting nature of the actor's fame in "Joseph Jefferson on the Actor's Fame," Forest and Stream, 66, No. 21 (May 26, 1906), 842. theater stage fame celebrity celebrity culture celebrity culture theater and stage motion pictures, and stage stage, and motion pictures celebrity, and actors actors, and celebrity fame, and actors actors, and fame actors acting actors, and fame before movies actors, and status of actors, and Joseph Jefferson modernity, and acting acting, and motion pictures painting, and motion motion, and painting motion pictures, and acting modernity motion, and acting acting, and motion motion pictures painting The Tragedy and the Compensations of the Actor's Career 36580 Transcript of Record, Samuel Roth, Petitioner v. United States of America, Supreme Court of the United States, October Term, 1956, No. 582
Jan. 14, 1957
Feb. 8, 2006 http://www.yale.edu/lawweb/avalon/curiae/html/354-476/001.htm(accessed May 20, 2010) This transcript gives the 26 counts on which Samuel Roth was indicted for distributing obscenity and it also lists the publication and other materials he was charged with mailing. The Petition for Certiorara was filed November 16, 1956 and the Certiorari was granted January 14, 1957. Among the publication Roth mailed were a monthly magazine, Good Times: A Review of the World of Pleasure; American Aphrodite: A Quarterly for the Fancy Free, which Roth edited; and such other items as "Stereoptice Nude Show," "Wallet Nudes," and "2 Undrapped Stars."
This case, together with the Alberts v. California case decided the same year, changed the Supreme Court's interpretation of obscenity, one that earlier had been defined by the Hicklin case. Henceforth, it became much hard for prosecutors to convict people for obscenity. Samuel Roth earlier convictions for obscenity for mailing Wild Passion, Wanton by Night, and Sexual Content of Men and Women. On one occasion he had gone to jail in Philadelphia for selling copies of James Joyce's Ulysses. Well-known for distributing such material, he had earlier convictions for obscenity. His appeal came at the same time as that of David Alberts, convicted in California for selling obscene literature. While the U. S. Supreme Court upheld the convictions of Roth and Alberts, and stated that obscenity was not protected by the First Amendment, it nevertheless changed fundamentally the way in which it dealt with obscenity cases. What became known as the Roth test became the foundation of American obscenity law. Obscenity would be “whether to the average person, applying contemporary community standards, the dominant theme of the material taken as a whole appeals to the prurient interest.” In delivering the opinion in Roth, Justice William J. Brennan, Jr. said that “all ideas having even the slightest redeeming social importance... have the full protection” of the First Amendment, unless “they encroach upon the limited area of more important interests.” Justice Douglas, who joined by Hugo L. Black in dissenting in both Roth and Alberts, went farther. He argued that the First Amendment protected literary treatment of sex even if it offended “the common conscience of the community.” U. S. Supreme Court law censorship and ratings freedom court cases law, and motion pictures motion pictures, and legal motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases , court cases Production Code, and decline of motion pictures, and freedom court cases, and harmful Roth case (1957) court cases, and Roth obscenity, and Supreme Court (U. S.) Supreme Court (U. S.), and Roth v. U.S. (1957 motion pictures, and obscenity obscenity, and motion pictures obscenity, and Roth case (1957) Alberts case law freedom censorship and ratings Roth v. U. S. (1957) obscenity Supreme Court (U. S.) censorship Transcript of Record, Samuel Roth, Petitioner v. United States of America, Supreme Court of the United States, October Term, 1956, No. 582 36450 The Trials of Oscar Wilde (aka The Man with the Green Carnation) Ken Hughes Great Britain Warwick Film Productions, Viceroy Films Limited
1960
This film, which starred Peter Finch, deals with the homosexual relationship between Oscar Wilde and Lord Alfred Douglas, and legal and human difficulties it posed. censorship self-regulation motion pictures, and sexuality sexuality foreign films, and sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality motion pictures, and foreign films foreign films, and homosexuality non-USA Great Britain Great Britain, and motion pictures motion pictures, and Great Britain Wilde, Oscar foreign films The Trials of Oscar Wilde (aka The Man with the Green Carnation) 37300 Tribune to Print Toned Pictures by Rotogravure Chicago Daily Tribune
Feb. 7, 1915
A 1 This article talks about the Tribune's use of the rotogravure process. It notes that the paper has been installing the new presses and that the process comes from Germany. It also discusses how the process works, its use of color, and its expense. "Mechanical engineers and experts in the art of photographic reproduction have been engaged for several weeks in installing a number of intricate machines in the Tribune building. When these machines are set in motion within a few weeks, another Tribune achievement will have been attained -- an achievement unequaled in the history of newspaper picture work in the United States.
"On Feb. 28 the first rotogravure work ever 'run off' of a rotary newspaper press on roll paper will be in the hand of the Tribune's readers. This work, from an artistic standpoint, will surpass in faithful reproduction of the gradations of light and shadow and detail any picture printed in the country except ... the most expensive of book paper and will be superior in softness of tone to most of these."
The subtitle of the article reads: "Machinery Installed for Highest Achievement in American Newspaper Publishing. Superior Process Is Used." rotogravure journalism history magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies non-USA non-USA, and rotogravure process rotogravure process, and Germany Germany, and rotogravure process Germany advertising Tribune to Print Toned Pictures by Rotogravure 15730 Tries Out Kinetophone Los Angeles Times
Jan. 4, 1913
I 1 This article discusses Thomas Edison's kinetophone which combined moving picture machines and a phonograph. “Seven films were shown,” the article reports. Edison is quoted: “‘This will put the finest operas and the best dramas within the reach of the poorest man.’” Indeed, the article's subtitle reads: "Edison Declares His Latest Device Will Be a Big Agency for the Uplift of the Poor."
 class motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Edison, Thomas Edison, Thomas, and sound film kinetophone Edison, Thomas, and kinetophone motion pictures, and class sound recording, and class class, and motion pictures class, and sound recording Tries Out Kinetophone 40340 Troland's Body Sent Homeward Los Angeles Times
May 29, 1932
A 1 This article reports the death of Leonard Troland, a co-inventor of Technicolor, from a fall on Mount Wilson in California, noting that he had been in ill health and that witnesses said his death was clearly accidental. Troland, Leonard Troland, Leonard, and death Troland, Leonard, and Technicolor Troland, Leonard, and color color color, and Leonard Troland Troland's Body Sent Homeward 40350 Troland's Death Accident New York Times
May 29, 1932
6 This article says that the Los Angeles Sheriff's office has closed its investigation of Leonard Troland's death, declaring it an accident. The article says that "Dr. Troland, suffering from the affects of a recent nervous breakdown, had gone into the mountains on a hiking trip with an associate, R. D. Eaton. Dr. Troland had climbed out on a rock to pose for a photograph when he fell into the canyon." Troland, Leonard Troland, Leonard, and death Troland, Leonard, and Technicolor Troland, Leonard, and color color color, and Leonard Troland Troland's Death Accident 14600 Try to Wipe Out Billboard Evil Chicago Daily Tribune
June 27, 1908
18 In addition to billboards, this article talks about licenses required for theater film machine operators. The article's subtitle reads: "Aldermen Propose Ordinance That Will Do Away with Unsightly Signs." children Chicago, IL censorship photography advertising and public relations motion pictures advertising advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures violence motion pictures, and violence violence, and motion pictures violence, and advertising advertising, and violence posters, and motion pictures motion pictures, and posters censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and movie posters children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children theaters motion pictures, and theaters theaters, and motion pictures theaters, and movie advertising theaters, and posters posters, and theaters advertising, and movie theaters motion pictures, and Chicago Chicago, and motion pictures motion pictures, and technological censorship censorship, and technology posters Try to Wipe Out Billboard Evil 14830 Turned to Arson by Moving Pictures New York Times
July 15, 1910
16 The subtitle of this article reads: "Twelve-Year-Old Ethel Allen Confesses to Setting a Tenement Ablaze Twice; Wrote a Black Hand Note; Demanded $50 from Her Father She Says She Saw These Things in a Bronx Moving-Picture Theatre." children censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and violence violence motion pictures, and crime censorship, and violence censorship, and violence motion pictures, and class children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and crime Turned to Arson by Moving Pictures 32020 TV and an Age of Pictures America
Jan. 14, 1956
94 16 427 This short piece relective of the Catholic Church's views on television and movies, warns about "the constant danger that culture will indeed be 'vulgarized' by the steady encroachment of the picture-technique." This piece also mention that on December 20, 1955, 250 alumni from the Graduate College at Princeton University met to dicuss "The Communication of Ideas." values television values, and television regulation regulation, and television Catholics, and television television, and Catholics religion television, and religion religion, and television motion pictures motion pictures, and religion religion, and motion pictures communication history, and Princeton Catholic Church censorship and ratings TV and an Age of Pictures 30430 TV News Film - New Role for 8mm American Cinematographer
April, 1963
44 4 227, 230, 232, 234-35 This article discusses the potential for 8mm film in producing newsreels for television. News cameramen found that the 8mm cameras have advantages because they are lighter and more compact. It notes that in 1963, there was increasing use of 8mm film in television news programs and that its quality compared favorably with 16mm film. It notes that KPHO-TV in Phoenix, AZ, has been experimenting with a Fairchild sound camera and projector. 8mm 8mm, and sound recording sound recording sound recording, and 8mm film cameras, and 8mm 8mm, and projectors 8mm, and cameras news and journalism television television, and 8mm film television news, and 8mm film cameras cameras, and 8mm film television, and 8mm cameras news, and 8mm film cameras, portable news, and portable 8mm cameras newsreels, and television television, and 8mm newsreels cinematography motion pictures news TV News Film - New Role for 8mm 27810 The TV Parental Guidelines: About TV Ratings and V-Chip Nov. 7, 2005 http://www.tvguidelines.org/ This site provides the television industry's explanation of its rating system and the V-chip. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation National Association of Theatre Owners (NATO) Federal Trade Commission (FTC) Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) television, and V-chip violence censorship and ratings rating system (U.S.) rating system (U. S.) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification V-chip motion pictures and popular culture television TV Parental Guidelines television, and rating system (U. S.) motion pictures, and rating system (U. S.) rating system (U. S.), and television FTC National Cable Television Association MPAA MPAA, and television TV rating system (U. S.) violence The TV Parental Guidelines: About TV Ratings and V-Chip 26010 TV Ratings Tampa Tribune
July 11, 1997
News/World 6 This article deals with political pressure building to force the television industry to adopt a rating system. Motion Picture Association of America (MPAA) entertainment classification MPAA self-regulation government hearings Federal Communications Commission (FCC) entertainment, home Clinton, William Jefferson CARA V-chip, and television violence television, and parents telecommunications presidents, and new media censorship and ratings rating system (U.S.) rating system (U. S.) PTA motion pictures home entertainment government regulation Clinton Administration law regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification Gore, Al home, and new media home television motion pictures and popular culture Valenti, Jack Valenti, Jack, and TV rating system (U.S.) rating system (U. S.), and TV (1997) V-chip television, and rating system (U. S.) television, and V-chip home entertainment revolution home entertainment, and V-chip television, and PTA PTA, and television television, and critics rating system (U. S.), and critics hearings new media Collings, Tim V-chip, and Tim Collings Telecommunications Act (1996) regulation, and television Valenti, Jack, and television television, and Jack Valenti Clinton, Bill Clinton, Bill, and TV rating system (U. S.) Clinton administration, and TV rating system (U. S.) Gore, Al, and TV rating system (U. S.) McCain, John, and TV rating system (U. S.) Lieberman, Joseph, and TV rating system (U. S.) FCC FCC, and TV rating system (U. S.) Markey, Ed, and V-chip home, and new media violence TV Ratings 17400 TV's First Nude Playboy
Oct., 1968
This article is about the first nude to appear on television. sexuality television television, and nudity magazines, and nudity nudity nudity, and television magazines TV's First Nude 14120 Two-Sided Attack on Picture Shows New York Times
March 14, 1911
7 This articles reports on two approaches to regulating motion pictures. The article's subtitle reads: "Children’s Society Going Before the Legislature and Conference Appeals to the Mayor; Not Agreed in Their Views; Children’s Society Regards It as a Moral Question and Conference as an Administrative Detail." reform children censorship motion pictures education motion pictures, and education education, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children reformers, and motion pictures motion pictures, and reformers censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and reformers censorship,and reformers women women, and motion pictures motion pictures, and women critics critics, and reformers values values, and motion pictures Two-Sided Attack on Picture Shows 31710 U. S. Gets a Look at Brigitte Life
Nov. 18, 1957
43 83-84, 87-88 This one of several articles in mainstream magazines publicizing Brigitte Bardot and her movie And God Created Woman. magazines Bardot, Brigitte magazines, and sexuality sexuality women women, and magazines magazines, and sexuality motion pictures motion pictures, and Brigitte Bardot U. S. Gets a Look at Brigitte 17290 U. S. Male
1960s
This publication was one of many male-oriented magazines that featured nude pictures of women. The magazine exploited improvements in photography that had taken place during the 1950s and 1960s. magazines sexuality pornography obscenity sexuality law censorship and ratings censorship color color, and magazines magazines, and color pornography, and magazines magazines, and pornography nudity nudity, and magazines magazines, and nudity motion pictures motion pictures and popular culture magazines, and motion pictures motion pictures, and magazines censorship, and magazines magazines, and censorship obscenity, and magazines magazines, and obscenity 18670 U. S. Senate Committee on Commerce Papers
1968
(RG 46), Sen 90A-E6, Box 53 This collection contains materials pertaining to the 1968 Senate hearings on movie rating led by Maine Senator Margaret Chase Smith. Smith was especially worried about the rising levels of sex and violence in American movies and television programs. These papers are at National Archives 1, Washington, D. C. Motion Picture Association of America (MPAA) MPAA government hearings Valenti, Jack Smith, Margaret Chase government motion pictures and popular culture motion pictures Smith, Margaret Chase, and movie classification Smith, Margaret Chase, and motion pictures motion pictures, and Congress hearings hearings, on movie classification (1968) Valenti, Jack, and Congress archives U. S. Senate Committee on Commerce Papers 38300 An Unamerican Innovation The Independent
May 22, 1916
86 3520 265 This article laments that movie censorship seems to have become an "institution" and says that while it may be a military necessity during World War I, "it always involves a dangerous infringement of personal liberty." American have "purer plays and purer periodicals than European countries," even though they censor their press and theater. The author asks what would have become of photography if had been censored 50 years ago? It would be dominated by "a few rich and powerful organizations" and not the democratic pastime it is in 1916.
The article says that movie camera technology will soon be affordable for almost everyone and that censorship cripples the potential democratization of this art. "Now the motion picture camera will soon be made cheap enough so that almost any one can afford one. If not interfered with by censorial laws it will in a few years be the common custom to take motion pictures of home and street scenes, to exhibit these in school, church and theater within a few hours after taking, and to mail them cheaply to any part of the country for exhibition in the family circle or in public. But this very desirable democratizing of the art will be impossible under a national or state censorship where one has to pay a fee of some ten dollars for every new film or two dollars for every duplicate, and have them shown to the censors before being exhibited in public."
The article says that motion pictures are "more than a means of amusement and more than a method of education. It is one of the most powerful forms of propaganda yet discovered. Some day there will, we hope, be films attacking the entrenched wrongs of modern society, as 'Uncle Tom's Cabin' attacked slavery, for which it was not allowed to circulate in the South...." Censorship makes this seem unlikely. "Does anyone suppose that our political appointees would ... stand for the freedom of the film against the pressure of vested interests and popular prejudice? No, we should have again what Shakespeare calls 'art made tongue-tied by authority,' and the old battle which has been won by the press would have to be fought over again for the screen." class censorship censorship motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel democracy democracy, and motion pictures motion pictures, and democracy class, and motion pictures motion pictures, and class censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and technological censorship censorship, and technology photography and visual communication photography, and censorship censorship, and photography critics critics, and movie censorship propaganda propaganda, and motion pictures motion pictures, and propaganda cameras cameras, and mobility censorship, and mobile cameras education education, and motion pictures motion pictures, and education motion pictures, and reform photography An Unamerican Innovation 31980 Uncut Features Aired Freely Into Homes But Censored for Screens Variety
Jan. 6, 1954
193 5 1 Between 1948 and 1952, Ohio TV stations played more than 1,800 movies, and between 500 and 600 of them had never been submitted to censors. Another 484 had been cut before they had appeared in movie theaters only to have the cuts restored before they were aired on TV. Five films that had been rejected outright by the Ohio Board of Censors were televised. motion pictures television censorship and ratings motion pictures, and television television, and motion pictures television, and uncensored movies censorship, and TV movies censorship Uncut Features Aired Freely Into Homes But Censored for Screens 2260 United Artists Collection Addition, 1950-1980
1950-1980
MCHC 82-46, Box 6, Folder: 6-16 "Preminger -The Moon Is Blue" For those interested in movie censorship, Box 6 in this collection contains one folder on The Moon Is Blue (1953). It had quite a lot of press releases, correspndence (from lawyers and those at United Artists) as well as memos from Preminger, and newspaper clippings on the film and efforts to censor it. This material is at the Wisconsin Historical Society, Madison. self-regulation Production Code values censorship and ratings Production Code (motion pictures) archives values religion archives motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and Production Code (motion pictures) Production Code, and Moon Is Blue Production Code, and Otto Preminger United Artists Collection Addition, 1950-1980 35620 United Artists Quits Film Group: Studio Resigns After Denial of Code Seal to 'The Man with the Golden Arm' New York Times
Dec. 8, 1955
46 In November, 1955, the New York Times reported that United Artist would release the movie, The Man with the Golden Arm, with or without the PCA’s seal. It was the first time that a major studio had announced its intention to exhibit a controversial film before submitting it to the PCA. The studio did submit the film to the PCA but the PCA refused to approve it. Johnston and the MPAA’s Appeals Board upheld this decision on December 6, 1955, but the studio heads were divided. Only five voted to uphold the appeal while four other abstained. The following day, Arthur Krim announced that United Artist would withdraw from the MPAA in protest. This episode contributed to Johnston's decision to revise the Production Code in 1956. The revised Code permitted treatments of narcotics use in movies. Sinatra, Frank self-regulation motion pictures, and Production Code Administration (PCA) Legion of Decency , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of Legion of Decency, effectiveness motion pictures, and Production Code motion pictures, and PCA motion pictures, and drugs motion pictures, and drugs censorship and ratings Production Code (1956) Krim, Arthur Preminger, Otto Production Code, and United Artists Man with the Golden Arm Catholic Church values United Artists Quits Film Group: Studio Resigns After Denial of Code Seal to 'The Man with the Golden Arm' 16000 United States v. Paramount Pictures, Inc. 334 U. S. 131 (1948) 1948 In a decision written by Justice William O. Douglas, the U. S. Supreme Court in 1948 made the work of censoring movies much more difficult. The major studios owned hundreds of theaters, which guaranteed outlets for their films -- pictures the Production Code Administration approved. In United States v. Paramount Pictures, Inc., the Court ruled that studios were in violation of antitrust laws and must divest themselves of their theater chains. Control over exhibitors had already weakened in 1942 when Hays in a little- known maneuver gave theater owners freedom to show movies that had not received the PCA’s blessing. U. S. Supreme Court United States v. Paramount Pictures (1948) Supreme Court (U. S.) archives Paramount Pictures law censorship and ratings censorship law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Paramount Pictures case (1948) Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases, Paramount Pictures case (1948) court cases, antitrust, and motion pictures motion pictures, and antitrust law, and antitrust court cases United States v. Paramount Pictures, Inc. 25370 Universal to Release "Henry & June" as First Film with NC-17 Rating PR Newswire
Sept. 26, 1990
This article is about the first movie to be given an NC-17 rating by the motion picture industry. Henry and June was made by Lew Wasserman's studio, Universal. music Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation corporations sexuality sexuality motion pictures, and sexuality corporations corporations homosexuality CARA Classification and Rating Administration (CARA) theaters MCA Universal Pictures theater owners censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures Music Corporation of America (MCA) law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture Wasserman, Lew CARA Heffner, Richard Valenti, Jack Valenti, Jack, and NC-17 NC-17 rating system (U. S.), and NC-17 movie, Henry and June motion pictures, and sex motion pictures, and sex lesbianism motion pictures, and lesbianism motion pictures, and homosexuality motion pictures, and homosexuality homosexuality CARA, and rating controversies rating system (U. S.), and controversies Wasserman, Lew, and NC-17 Universal Pictures, and NC-17 Miller, Henry Kaufman, Philip MCA, and NC-17 MCA, and Cineplex Odeon theater chain theater owners, and NC-17 NC-17, and theater owners Pollock, Tom, and Universal Universal Pictures, and Tom Pollock Pollock, Tom, and NC-17 Kaufman, Philip, and Henry and June Heffner, Richard, and NC-17 Heffner, Richard, and Henry and June Heffner, Richard, and rating system (U. S.) NC-17 NC-17, and origins Universal to Release "Henry & June" as First Film with NC-17 Rating 1170 Unusual Snapshots Taken at Thrilling Moments New York Times
Aug. 14, 1910
SM 7 This article notes that the “cameras recorded images of critical moments far more graphic than a writer’s pen could.” Such pictures “were found in much greater variety than had been expected.” It reports that the assassination of Prince Hirobumi Ito in Japan was captured by moving picture camera. Movie makers often use such film of actual events holding the showing of the film until a movie story could be invented to fit the pictures. The subtitle of the article reads: "Work of Camera Men with Presence of Mind to Press the Button at Critical Times." journalism history magazines motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines sensationalism motion pictures, and sensationalism sensationalism, and motion pictures cameras special effects motion pictures, and special effects Japan non-USA Japan, and motion pictures motion pictures, and Japan modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space history and new media motion pictures, and history history, and motion pictures Unusual Snapshots Taken at Thrilling Moments 16180 The Use of Cinematography in Physiology: Some Recent Applications The Times [London]
Oct. 4, 1913
3 This article reports on the use of slow motion moving pictures in the study of physiology. (Erik Barnouw also discussed use of slow motion as earlier as 1899. See Erik Barnouw, The Magician and the Cinema [New York: Oxford University Press, 1981], 99.) science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures science, and motion pictures motion pictures, and science motion pictures, and medicine medicine, and motion pictures motion pictures, and slow motion Great Britain non-USA Great Britian, and motion pictures motion pictures, and Great Britain modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Barnouw, Erik The Use of Cinematography in Physiology: Some Recent Applications 15630 Using the Camera to Illustrate Fiction New York Times
Jan. 6, 1918
75 This article says that some of the best-know actors on a list of 3,000 names used as models for photographers. It notes that these photographs must be much more carefully done than facial pictures in the movies. The subtitle to the article reads: "Models Pose for Photographs Showing Scenes in the Story How Two Artists Originated the Plan." fame celebrity actors acting photography motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality sexuality, and photography women women, and photography photography, and sexuality Using the Camera to Illustrate Fiction 19750 Valenti Exits White House for MPAA Post Broadcasting: The Business Weekly of Television and Radio
May 2, 1966
70 38-39 An article about Jack Valenti leaving his position as assistant to President Lyndon B. Johnson to become president of the Motion Picture Association of America. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA Valenti Exits White House for MPAA Post 36560 Valenti in Ode to Code: Wisdom Behind Administration Variety
Sept. 28, 1966
5, 68 This article discusses the 1966 revision of the motion picture Production Code. Valenti says that there are no rigid restrictions on any topics that can be treated in the movies and that there are "gauzily defined boundaries" relating to good taste in treating crime and sexuality. Motion Picture Association of America (MPAA) classification MPAA self-regulation CARA , news motion pictures Valenti, Jack Production Code, 1966 censorship and ratings Shurlock, Geoffrey Johnston, Eric classification motion pictures, and classification motion pictures, and censorship Production Code Valenti in Ode to Code: Wisdom Behind Administration 21620 Valenti Seeks VCR Collaboration Los Angeles Times
Jan. 9, 1989
Business 3A During the early 1980s, Jack Valenti of the Motion Picture Association of America had considered video cassette recorders to be a dire threat to the movie industry but by 1989, he was willing to seek an accommodation with video makers. "The trend is that the more a person watches a movie on a VCR, the more that person seems to be drawn to wanting to see a movie in a theater," Valenti concluded. Motion Picture Association of America (MPAA) entertainment piracy video cassette recorders (VCRs) MPAA entertainment, home magnetic recording motion pictures home entertainment Hollywood videotape magnetic tape home motion pictures and popular culture video piracy VCRs Hollywood, and new technology home entertainment revolution home entertainment revolution, and VCRs Valenti, Jack Valenti, Jack, and VCRs Valenti, Jack, and video piracy home home, and new media copyright Valenti Seeks VCR Collaboration 29350 Variety
1978
motion pictures and popular culture First Amendment, and motion pictures motion pictures, and First Amendment I Spit on Your Grave First Amendment motion pictures Variety 1030 Variety Houses Like 5 Cent Kind Chicago Daily Tribune
April 17, 1907
2 This article comments on the type of people who attend the 5-cent theaters. “The body of the house was filled with men and women largely of the class to be found in the near north side region, in the middle of which the theater stands." The article also notes that near nudity in stage show “Mlle. Salomo.” “The scene was so baldly and openly an attempt to play on the lower tastes of the audience that when the curtain fell no one in the house had the temerity to applaud, and Salomo disappeared amid silence, which finally was broken by a man’s hoarse guffaw, followed by a hysterical giggle from one of the women in the gallery.”
The article offers an unflattering description of the theaters. “In close proximity to the nickel theaters which infest the downtown district, many of them touched with vicious suggestiveness, there stand a number of more pretentious places of entertainment which outrival their less ostentatious neighbors in the vulgar spectacles they produce. These theaters in recent months have grown bold and unrestrained.”
The subtitle of this article reads: "Some More Pretentious Theaters Have Just as Vicious Spectacles; Children Are Patrons; Theater on North Side Shows ‘Girl in the Pie’ and a ‘Salome’ Dance." immorality class children Chicago, IL censorship motion pictures motion pictures, and Chicago Chicago, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children motion pictures, and class class, and motion pictures sexuality sexuality, and motion pictures motion pictures, and sexuality nudity motion pictures, and nudity nudity, and motion pictures sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures nudity nudity, and the stage theaters theaters, and 5-cent values, and theater values, and motion pictures motion pictures, and values theater, and values values immorality, and theater immorality, and motion pictures motion pictures,and immorality motion pictures, and Chicago Chicago, and motion pictures violence violence, and motion pictures motion pictures, and violence motion pictures, and crime motion pictures, and class advertising and public relations theater Variety Houses Like 5 Cent Kind 1250 The Verb ‘To Film’ New York Times
May 26, 1914
10 This article reports that “The verb ‘to film’ having gained currency, it must be graciously admitted to the language.” motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and language language, and motion pictures language The Verb ‘To Film’ 20170 Very Educational Newsweek
April 29, 1963
61 86 This article talks about Richard D. Heffner and public television. motion pictures and popular culture motion pictures motion pictures, and Richard Heffner Heffner, Richard, and background Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Very Educational 13270 Vice President’s Funeral. Mr. McKinley and Many Distinguished Persons Go to Paterson New York Times
Nov. 26, 1899
4 This article on funeral of Vice President Garret Augustus Hobart in 1899 says that people with Kodak cameras and kinescope moving picture cameras captured the procession: “All along the line of march the kodak fiends were active, and even the ubiquitous kinetoscopoe man got a series of moving pictures of the cortège as it came through Broadway.” journalism journalism history history magazines, and photography magazines photography motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones presidents and new media McKinley, William McKinley, William, and motion pictures McKinley, William, and assassination motion pictures, and William McKinley motion pictures, and Garret Hobart Vice President’s Funeral. Mr. McKinley and Many Distinguished Persons Go to Paterson 35360 Victim Basil Dearden Pathé-America Distributing Co.
1961 (Great Britain); 1962 (USA)
This film was turned down by the U. S. movie industry's Production Code Administration because of its theme of homosexuality. However, it played without the PCA seal, opening in New York, Feb. 5, 1962.
Plot summary from the American Film Institute Catalog: "'Boy' Barrett, a young English construction worker, is arrested for stealing a large sum of money from his firm. When he learns that the police know he used the money to pay a ring of blackmailers who threatened to expose him as a homosexual, he hangs himself rather than endanger the career of Melville Farr, a successful barrister with whom he had become emotionally, but not sexually, involved. Farr does become implicated, however, when the police discover that the blackmailers were using a photograph of them together to extort money from Barrett. Filled with remorse and angered by the existence of a law that makes homosexuals criminals, thereby making them easy prey for blackmailers, Farr decides to jeopardize both his marriage and his career by bringing those responsible for Farr's suicide to justice. Before his marriage Farr had admitted to his wife, Laura, that he had homosexual tendencies; now, forced to confess that these tendencies still exist, he offers Laura her freedom. Despite pressure from both the blackmailers and their victims, Farr cooperates with the police in tracking down the blackmailers--a sadistic young hoodlum, Sandy, and an embittered spinster, Miss Benham. Though fully aware that the scandal will ruin him, Farr insists upon prosecuting; as he prepares his case, Laura, who still loves him, realizes that her husband's need for her is stronger than any passing emotion he may feel, and she intimates that she will return to him when the trial is over."
This movie, made in the United Kingdom, starred Dirk Bogard and open in London in Aug., 1961. Its New York opening was on 5 Feb 1962.
 censorship self-regulation motion pictures, and sexuality sexuality foreign films, and sexuality motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality motion pictures, and foreign films foreign films foreign films, and homosexuality non-USA Great Britain Great Britain, and motion pictures motion pictures, and Great Britain Victim 41730 A Victory for Decency Outlook
May 23, 1908
89 4 135-36 This article discusses a woman who was awarded $6,000 by the U.S. Court in New York because her photograph had been used by the Lydia E. Pinkham Medicine Company for advertising, even though the company had not told the woman for what purpose her picture would be used. The article says the "appearance of the advertisements gave Miss Wynne unplesant notoriety among her fellow workers, and finally obliged her to give up her employment." (136) The article says the judgment in this case was "a stroke for decency and good order." (136) law privacy law, and privacy law, and motion pictures photography and visual communication photography, and privacy privacy, and photography court cases court cases, and privacy privacy, and court cases home and new media home, and privacy privacy, and home advertising and public relations advertising, and privacy privacy, and advertising privacy, and Samuel Warren photography, and fame photography, and notoriety women women, and privacy privacy, and women photography, and women women, and photography advertising, and women women, and advertising advertising home photography A Victory for Decency 31930 Videotape Recorders Popular Photography
Oct. 1966
59 4 145-46 These pages give examples of videotape recorders that were available to purchase in 1966 from such companies as Ampex, Concord, Sony, Panasonic, and Wollensak. video cassette recorders (VCRs) sound recording magnetic recording VCRs television television, and VCRs VCRs, and television motion pictures, and VCRs motion pictures home and new media home, and VCRs VCRs, and Sony VCRs, and Ampex VCRs, and Panasonic home Videotape Recorders 27050 View in Privacy of Home; Women Form Big Market for Hard-Core Porn Tapes Los Angeles Times
Dec. 22, 1985
Metro (Part 2) 13 This article discusses that fact that women make up a significant part of the market for pornographic video tapes. magnetic recording women, and new media women sexuality pornography motion pictures videotape magnetic tape motion pictures and popular culture pornography, and women women, and pornography videotape, and women videotape, and pornography motion pictures, and videotape pornography, and videotape women, and videotape View in Privacy of Home; Women Form Big Market for Hard-Core Porn Tapes 13620 Villa at the Front; ‘Movies’ Sign Him Up New York Times
Jan. 7, 1914
1 This two-article story reports on a camera designed to capture action on battlefield with Francisco Villa. Quoting H. A. Aikten: “‘Meanwhile there was the question of the cameras. We wanted a camera that would stand up and take pictures of a battlefield and yet operate in such a way that the man with it could keep under cover while the machine was exposed.
“‘Such a camera was designed, and ten of them were ordered. We next had to consider the question of men. We wanted daring men, of course, and also men who would know how to take care of themselves in military operations. We didn’t want greenhorns in army matters, who would welch out at the first experience under fire.
“‘We have ten men in our squad at the front, two of them operating cameras to take pictures where the movies [sic] cameras will not be practicable. We are holding another man here ready to go at a moment’s notice to any point where there may be a chance to catch some good manoeuvre.” (Subhead for this article reads: “Villa to War for ‘Movies’; Become Partner of H. A. Aitken Who Sends Camera Squad to Front.”)
The subtitle of the article reads: "Brings 3,500 Recruits and Moving-Picture Contract to Ojinaga. Camera Record of Battle. The General Will Provide the Pictures and Care for Operators for a Percentage of Receipts." history photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing history and new media motion pictures, and history history, and motion pictures war war, and motion pictures motion pictures, and war military communication military communication, and motion pictures cameras, portable war, and cameras cameras, and war motion pictures, and live war action cameras, and live war action photography and visual communication photography, and war war, and photography war, and Mexico war, and Francisco Villa cameras Villa at the Front; ‘Movies’ Sign Him Up 17340 Village Voice
1960s
As an underground newspaper during the 1960s, the Village Voice was like other underground papers in that it used relatively inexpensive printing technology and made innovative use of color. underground media underground films news and journalism 8mm motion pictures and popular culture motion pictures motion pictures, and underground film 16mm film, and underground 8mm film, and underground underground cinema 16mm news journalism 16mm film news Village Voice 15590 The Vulgar Snapshot Man New York Times
March 29, 1909
6 This article says that “Photographs of persons and places are perfectly legitimate accompaniments of modern journalism. They often greatly increase the interest of the daily record of news.” However, in the case of the photographer discussed in this story, he went too far taking pictures at a private funeral. journalism journalism fame celebrity actors acting magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality The Vulgar Snapshot Man 29450 Wall Street Oliver Stone Trimark
1987
motion pictures and popular culture Stone, Oliver capitalism motion pictures, and capitalism motion pictures Wall Street 14080 War Declared on Crime in ‘Movies’ Chicago Daily Tribune
Sept. 19, 1913
1 “Children need no instruction in murders…,” says Judge Mary Bartelme. The subtitle to this article reads: "Gun Play Film Shows Attacked by Social Workers, Police, and Judiciary." reform children Chicago, IL censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children violence violence, and motion pictures motion pictures, and violence motion pictures, and crime audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and reformers reformers, and motion pictures critics critics, and reformers reformers, and critics law motion pictures, and law law, and motion pictures motion pictures, and Chicago Chicago, and motion pictures women women, and censorship women, and motion pictures motion pictures, and women censorship, and women War Declared on Crime in ‘Movies’ 14740 War of Moving Pictures Chicago Daily Tribune
June 2, 1907
B 3 The subtitle to this article reads: "Berlin Police Act as Result of Medical Theory That They Are Harmful to Eyes." reform children censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children violence violence, and motion pictures motion pictures, and violence motion pictures, and crime audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and reformers reformers, and motion pictures critics critics, and reformers reformers, and critics law motion pictures, and education education, and motion pictures non-USA Germany Germany, and motion pictures motion pictures, and Germany education War of Moving Pictures 16140 War Surgery Shown in Moving Pictures New York Times
Oct. 7, 1916
11 The subtitle of this article reports: "Films Here Portray Removal of Shrapnel Ball from a Living Man’s Heart; Human Wrecks Salvaged…." science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures medicine, and motion pictures motion pictures, and medicine France non-USA France, and motion pictures motion pictures, and France war war, and motion pictures motion pictures, and war War Surgery Shown in Moving Pictures 15490 Warner Bros. Archive of Historical Papers This huge collection provides scholars with a detailed look at how specific Warner Bros. films were produced. It has a wealth of information on movie production, the stars, studio executives, and more. These papers are located in the Doheny Library, School of Cinema - Television Collection, University of Southern California, Los Angeles, CA. California -- Los Angeles -- University of Southern California -- Doheny Library archives archives motion pictures and popular culture motion pictures Warner Bros. Archive of Historical Papers 13510 Well-Known Authors Act Their Own Plays in ‘Movies’ New York Times
Feb. 8, 1914
SM 5 The subtitle of this article reads: "Amelie Rives, Booth Tarkington, George Ade, Ida Tarbell, Rex Beach, George Barr McCutcheon, and Others as Film Actors."
Ida Tarbell talks about appearing before the camera. She had been working on a biography of Abraham Lincoln. Here the article quotes Tarbell: “‘Here is a great human undertaking with limitless possibilities to bring amusement and instruction to the whole world. What was I that I should say “I will have none of it”? So I did the best I could to follow the instructions of the serious and enthusiastic young man who had undertaken to pose me. I discovered afterward that the young man had been impersonating Lincoln in my little sketch, so I understood better his natural interest in having me smile up at the Lincoln portrait, catch my inspiration from the corner of the frame, where I had been told to look, and fall to writing furiously.
“‘I did feel a little foolish, but only because I realized what a stupid amateur I was as an actress. All the revolt had been taken out of me by the bigness of the things I had seen. The only “emotions” I have to record, then, are the haughtiness with which I went in and the meekness with which I came out.’” history motion pictures history and new media motion pictures, and history history, and motion pictures Tarbell, Ida, and motion pictures motion pictures, and Ida Tarbell women women, and motion pictures motion pictures, and women motion pictures, and reform reform, and motion pictures reform Well-Known Authors Act Their Own Plays in ‘Movies’ 6610 What Are Pathescopes?; Question Before the General Appraisers for Decision New York Times
Feb. 4, 1915
14 This articles says that "the Pathescopes are moving picture machines made especially for home entertainment….” home home history electricity motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment motion pictures, and Pathéscope modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Edison, Thomas Edison, Thomas, and motion pictures motion pictures, and Thomas Edison home, and electricity electricity, and home electricity, and home entertainment motion pictures, home Pathéscope What Are Pathescopes?; Question Before the General Appraisers for Decision 15460 What Helped Me to Success Will Help You, Says Jackie Saunder Movie Star Chicago Daily Tribune
Nov. 2, 1919
E 5 This advertisement has a picture of Jackie Saunders and considerable text about the virtue of using Senreco toothpaste and visiting the dentist regularly for good gums. It projects an image of beauty. journalism celebrity celebrity culture actors acting magazines, and photography magazines photography photography and visual communication women women, and photography photography, and women women, and motion pictures motion pictures, and women advertising, and women women, and advertising advertising and public relations sexuality sexualty, and advertising advertising, and sexuality magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines Photoplay motion pictures, and fan magazines fan magazines celebrity culture motion pictures, and celebrity advertising, and celebrity motion pictures, and fame advertising, and fame motion pictures, and stars advertising, and beauty actors acting advertising motion pictures news and journalism What Helped Me to Success Will Help You, Says Jackie Saunder Movie Star 41490 What Makes a Woman's Beauty Chicago Daily Tribune
Feb. 28, 1904
A 5 This article talks about the relationship between photography and a woman's beauty. Photographers, it notes, are "trying to lift" their "profession to a place among the fine arts." Quoting Bliss Carmen, the article says that "no one 'has the power of reaching his own ideal, unless he inculcates that ideal of himself in the minds of others.'" The article goes to say that the "new photography makes its own creation, not imitation. The sensible qualities of beauty, which Burke enumerates as 'smallness, smoothness, variety in the direction of parts, flowing lines, delicacy of form without remarkable appearance of strength, freshness and contrast of color,' are as important in this art as in every other. But the photographer concerns himself directly with the visible effort which nature is making in every individual, spiritually even more than physically, toward that beauty that philosophers recognize as the normal state of man."
The article emphasizes the importance of the face and eyes in revealing beauty. "A recent issue of a photographic magazine gives this rule of interpretation of facial expression; 'The eyes reveal the soul, the nose will power, the mouth and chin stand for purpose and determination; and what we call expression, the combination of all, is the mirror through which the inmost character of each subject is reflected.' It is usually through emphasis of some one feature that the photographer is most successful." [my emphasis]
"If a girl has beautiful eyes and an ugly mouth, he either poses the head or veils the face in such a way that the beautiful eyes catch and hold the attention. If she has a sweet and tender mouth and her eyes are so light in color that photographed they will seem to pop out from their background, he turns her face so that the beauty of the mouth will be its distinguishing feature...."
The article is accompanied with five photographs and one drawing of women's faces. photography facial expressions women photography and visual communication photography, and women women, and photography photography, and beauty photography, and facial expressions facial expressions, and photography photography, and eyes What Makes a Woman's Beauty 13550 What Schools to Use Movies Chicago Daily Tribune
July 28, 1916
10 This article says that movies will probably be used to teach Americanism. nationalism children Chicago, IL motion pictures, and Americanization modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children education motion pictures, and education education, and motion pictures motion pictures, and Chicago Chicago, and motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism motion pictures What Schools to Use Movies 13580 What the Ancients Missed New York Times
March 26, 1918
10 This article comments that “No longer does a hero have to depend on the uncertain pleasure of the bards of posterity to celebrate his aristeia; he comes home and lectures about it himself, usually to his credit be it said, for the benefit of some worthy cause. Or, it may be his achievements pass into the running record of the film, with Himself as Himself if possible; if he lacks the technique, another may impersonate him with greater or less fidelity; the public is pleased just the same.
“Rome would have howled with joy could it have seen upon the screen ‘My Seven Years in Gaul,’ by C. J. Ceasar….” history fame fame celebrity celebrity culture motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing history and new media motion pictures, and history history, and motion pictures war war, and motion pictures motion pictures, and war war, and fame fame, and war celebrity culture motion pictures, and celebrity celebrity, and motion pictures fame fame, and motion pictures motion pictures, and fame history, and fame fame, and history actors acting history What the Ancients Missed 20460 What TV Does to Kids Newsweek
Feb. 21, 1977
89 62-63 This article discusses what research seemed to show about the impact of watching violence on television and in other forms of mass entertainment. By the time the average person had reached 18 years of age, they had seen literally thousands of murders enacted on TV and movies. advertising, and public relations propaganda public relations violence media effects media violence sexuality censorship and ratings children television children, and media television, and violence violence violence, and television advertising, and television advertising, and children television, and advertising television, and children media effects, and TV violence advertising What TV Does to Kids 32000 What TV Is Doing to the Movie Industry U. S. News & World Report
Feb. 7, 1958
47 88-90 As the sales of television sets increased, more and more people watched movies at home. By 1956, almost 4,200 feature motion pictures (more than 5,200 hours of films) were being shown nationwide on television each week. Less than two years later, more than 200 million people were watching free films on television each week compared to 46 million people who bought tickets at movie theaters. motion pictures television censorship and ratings motion pictures, and television television, and motion pictures What TV Is Doing to the Movie Industry 30100 What You Should Know About 16mm Workprint Editing American Cinematographer
Feb., 1967
48 2 112-14, 140 This articles discusses working with 16mm film. It notes that "while it is true that non-theatrical productions are shot in both 35mm and 16mm, and on 16mm negative as well as 16mm reversal, most non-theatrical production such as industrial films, in-plant film-making, contract film reports, etc., are in 16mm and the bulk of this is shot on 16mm reversal film, both color and black-and-white." (112) cinematography motion pictures 16mm cameras cameras, 16mm photography, 16mm motion pictures, industrial motion pictures, documentaries 16mm film photography What You Should Know About 16mm Workprint Editing 1040 Where Melodramas Are Produced Without an Audience Chicago Daily Tribune
May 3, 1908
F 6 This article comments on the filming of movies and how they are attended by live audiences. Violence is common in the storylines. “Have you a deadly enemy your wish ‘removed’? Entice him out to Western avenue, where more murders are committed per second and more kidnappings to the square yard than in any other place in the country.” These and many other similar scenes are enacted, not before live audiences, but in silence before the “moving picture machine.”
The subtitle of this article reads: "Every Day In the Week, Heroes and Villains, the Woman in the Case, and a Company of Supernumeraries act In Pantomime Before the Moving Picture Machine." Chicago, IL actors acting motion pictures motion pictures, and Chicago Chicago, and motion pictures motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and acting motion pictures, silent motion pictures, and pantomime violence violence, and motion pictures motion pictures, and violence audiences audiences, and motion pictures motion pictures, and audiences acting actors Where Melodramas Are Produced Without an Audience 39840 The White Slave Films Outlook
Jan. 17, 1914
120-22 This article begins by pointing out that the current generation is not the first to have discovered sex but that "while we have not discovered sex, if can be said perhaps that we are to-day approaching it in a somewhat different spirit than has obtained in the past." (120) The current films about white slavery are not nearly as immoral as the musical comedies which are built on marital infidelity. "No one in these post-Victorian days publicly objects, apparently through fear of being thought prudish and unsophisticated, to the musical comedies founded upon the glorification of marital infidelity. Yet between these white slave films, pointing a moral which he who runs may read, and the 'wit' and cynicism of the average musical farce, skillfully and successfully staged to appeal to the immature in age, mind, and morals, there is a guld as wide as the seven seas." (121)
The white slave films do not so much promote immorality as hysteria this article says. "The most valid objection to the reproduction of the best of these films is not that they promote immorality, but that they promote hysteria." Quotatin Mrs. Barclay Hazard, head of the New York branch of the National Florence Crittenton Assocation: "'All this talk about the poisoned needle that has been filling the papers is nothing but the result of the hysteria which is brought about by the state of mind people are getting into through the constant discussion of these subjects.'" (121)
The article comments on the power of movies to discuss social topics compared to print media. It argues that "much can be said for the 'movies' as purveyors of social information which cannot be said for fiction and the drama. The 'movies' are intensely democratic -- emphatically more so that the legitimate stage or even the ubiquitous novel. They can be made accurate without offering to the adolescent mind opportunity or time for the intimate self-comparison and analysis which results from the reading of fiction. They can be made interesting without the alluring presentation of physical reality inseparable from the enactment of such themes upon the stage...." (121)
The article concludes: "These films will not teach morality to the immoral. They will not by themselves inculcate high ideals. That is the business of the church and the home. They certainly will aid, we believe, in destroying the glamour of baseness. There are more ways than one of circumventing the devil." (122) theater stage prostitution children censorship photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures white slavery, and motion pictures motion pictures, and white slavery prostitution, and motion pictures motion pictures, and prostitution words vs. images images vs. words democracy motion pictures, and democracy democracy, and motion pictures theater and stage motion pictures, and stage stage, and motion pictures advertising The White Slave Films 19870 Who's Afraid ... of Jack Valenti? Newsweek
July 4, 1966
68 84-85 This article asks if Jack Valenti "will be more than a front man, a resplendent chief usher to the world. The biggest guns in the West didn't saddle him up to be a Trojan horse." ( 85) Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA self-regulation Production Code National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA values religion Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA Production Code, and Jack Valenti Valenti, Jack, and Production Code (motion pictures) Who's Afraid of Virginia Woolf?, and Jack Valenti Valenti, Jack, and Who's Afraid of Virginia Woolf? Valenti, Jack, and quotation Who's Afraid of Virginia Woolf? Who's Afraid ... of Jack Valenti? 30530 Who We Are
2004
July 5, 2004 http://www.iop.harvard.edu/who/director.html This website for Harvard University's Institute of Politics give a biographical sketch of Dan Glickman, who succeeded Jack Valenti as president of the Motion Picture Association of America on September 1, 2004. Motion Picture Association of America (MPAA) Classification and Rating Administration CARA Classification and Rating Administration (CARA) motion pictures censorship and ratings censorship MPAA Glickman, Dan MPAA, and Dan Glickman CARA, and Dan Glickman CARA Who We Are 18400 WHORM: Subject Files
1980s
These files in the Reagan Library in Simi Valley, CA, cover many subject. For example, they include a report from the Television Information Office entitled "The New Television Pressure Groups: a perspective on the drive against diversity." Also there is some correspondence with Jack Valenti. These files are at the Ronald Reagan Presidential Library, Simi Valley, CA. California -- Simi Valley -- Ronald Reagan Presidential Library Motion Picture Association of America (MPAA) MPAA values Christianity Christianity Valenti, Jack religion values morality values religion law censorship and ratings censorship television television, and censorship television, and critics motion pictures and popular culture motion pictures motion pictures, and television motion pictures, and censorship censorship, and TV pressure groups morality, and television Christianity, and television Valenti, Jack, and Reagan Administration Valenti, Jack, and television censorship archives Valenti, Jack, and television WHORM: Subject Files 15660 Whose Picture Is the Best Seller? New York Times
Feb. 9, 1908
SM 6 The subtitle for this article reads: "Here Is the Answer, Also Data About Other Celebrities Who Attract Collectors."
This article is on the popularity of celebrity photos. Actresses most popular but many sales abroad because of antipathy from non-acting women. (my emphasis) “According to a leading dealer in photographs of celebrities in this city, the business which he conducts may be considered a thermometer of the public’s feeling toward its favorites of the stage and in other walks of life which bring them into prominence.
“The dealer along keeps on hand a stock of about one million photographs. (my emphasis) They include pictures of actors, actresses, singers, members of royal families and of the nobility of foreign countries, men prominent in politics, scientists, and every other kind of celebrity known to the human race.
“Of all these the most popular are the picture of actresses. (my emphasis) And first and foremost among the favorite actresses of the American stage is Maude Adams….” (she played Peter Pan) Ethel Barrymore second most popular.
“Fully 25,000 pictures of Maude Adams in her various roles are sold in this city by the leading dealer in photographs of celebrities alone. This represents somewhat less than one-half of the total number of pictures of actors and actresses purchased from him by collectors each year.
“The pictures of actors and actresses represent about one-third of the entire number of celebrities’ pictures which that dealer sells….” (Maude Adams represents about one-sixth of all celebrity sales by this dealer.)
Next to stage celebrities, pictures of royalty are next in popularity. Opera singers and politicians (e.g., TR) are also popular as are scientists and writers. Pictures of TR a greater seller in US and abroad.
“The reason that the collections of ‘types of American beauties’ sent abroad to fill the order received from foreign dealers are drawn so largely from the acting profession is the fact that there exists an antipathy among American ladies not on the stage to allowing the sale of their photographs.” presidents and new media fame celebrity anti-theatrical bias censorship actors acting photography motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality sexuality, and photography women women, and photography photography, and sexuality audiences audiences, and women women, and audiences censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings actors, and status of anti-theatrical prejudice actors, and bias against women, and actresses actors, and women celebrity, and Maude Adams Adams, Maude, and photography Barrymore, Ethel Barrymore, Ethel, and celebrity Barrymore, Ethel, and photography president and new media Roosevelt, Theodore, and photography photography, and Theodore Roosevelt Roosevelt, Theodore Whose Picture Is the Best Seller? 41860 Why the Movies and the Drama Must Take Different Roads Current Opinion
May 1915
58 5 333 In one area, early silent cinema usually drew unfavorable reviews when compared to the live stage. That was in the ability to depict the inner life of human beings, the psychological underpinnings of drama. Silent films, usually produced in black and white, relied heavily on pantomime which offered a poor substitute for the words spoken and emotions registered by live actors [on stage]. These films seemed incapable of entering “the subjective world of the soul.” Pictures were “the province of melodrama; the legitimate stage is the province of motivated drama, high comedy and tragedy,” said H. M. Hedges. “For drama, great drama, the only thing of importance is human personality in conflict…. How can the struggle of a soul be adequately portrayed by pantomime?” (333)
This article is a summary with excerpts from H. M. Hedges, "A Laocoon for the Movies," The Play-Book, 2, no. 8 (Jan. 1915), 20-23. theater stage motion pictures, and modernity critics censorship words vs. images metaphors actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and printing press motion pictures, as new literary form theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form motion pictures, and novels censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and new way of seeing motion pictures, and drama motion pictures, and nature motion pictures, and character motion pictures, and words motion pictures, and motion pictures, and subjective world of soul motion pictures, and psychology Why the Movies and the Drama Must Take Different Roads 18220 [Widescreen Cinema] Velvet Light Trap
Summer, 1985
21 This entire issue was devoted to widescreen cinema. It also included bibliography on the subject. motion pictures and popular culture motion pictures motion pictures, and widescreen bibliographies bibliographies, and widescreen cinema [Widescreen Cinema] 15300 Wilfrid Parsons Papers Wilfrid Parsons, who edited the Catholic publication America, corresponded with several people involved with movie censorship, among them Daniel A. Lord and Joseph I. Breen. One finds evidence of Breen's apparent anti-Semitism in this collection. Parsons' papers are in the Lauinger Library, Georgetown University, Washington, D. C. self-regulation Production Code values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) motion pictures and popular culture motion pictures motion pictures, and Production Code (motion pictures) archives Breen, Joseph Production Code, and origins archives, and Production Code (motion pictures) Lord, Daniel A. Quigley, Martin Breen, Joseph, and anti-Semitism anti-Semitism, and Joseph Breen anti-Semitism Wilfrid Parsons Papers 13260 Will H. Hays Papers Indiana State Library, Indianapolis, IN This large, important collection, in the Indiana State Library in Indianapolis, covers Hays' work with the Motion Pictures Producers and Distributors Association between 1922 and 1945, as well as other aspects of Hays' life. The collection is arranged chronologically and is also on microfilm. The collection is the most detailed on the working of the movie industry's public relations and business dealings. There is nothing comparable for either the presidencies of Eric A. Johnston (1945-1963) or Jack Valenti (1966- ). advertising, and public relations propaganda advertising public relations archives freedom law censorship and ratings censorship archives Hays, Will H. motion pictures and popular culture motion pictures motion pictures, and censorship censorship, and motion pictures motion pictures, and Will Hays public relations, and motion pictures motion pictures, and public relations Breen, Joseph Adler, Mortimer, and Will Hays Freedom of the Films, and Mortimer Adler Adler, Mortimer, and Freedom of the Films Adler, Mortimer Will H. Hays Papers 6640 Will Issue Films for Home Movies New York Times
May 27, 1927
29 This article discusses plans to provide short films for those who own home movie equipment. The subtitle of this article reads: "Eastman Kodak Company to Start Monthly Service of Four-Minute Pictures. Chaplin to Figure Early; ‘Releases’ of Stars and News Reels Will be Available to Owners of Small Projectors." home history motion pictures history and new media motion pictures, and history history, and motion pictures home and new media motion pictures, and home home, and motion pictures cameras cameras, portable cameras, home movie cameras Edison, Thomas, and home movie cameras home entertainment modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space news and journalism home entertainment, and newsreels newsreels newsreels, and home Kodak Kodak, and home entertainment home entertainment, and Kodak Edison, Thomas Will Issue Films for Home Movies 480 Will Scientists Succeed in Destroying Distance Chicago Daily Tribune
Oct. 25, 1908
F3 This article discusses a new invention by M. Armengaud, a French scientist/inventor, that promises the "annihilation of distance." He explained it, it was "merely an extension of the system under which photographs at present are being transmitted by telegraphy." The article goes to say that "it means that in everything but physical contact we will be in momentary presence of the people in the furthermost part of the earth. That we will be as familiar with the daily lives of the inhabitant of China as we are with the dwellers in State street." The invention promises to give people scenes of "actual war" and such disasters as the San Francisco earthquake. There are implications for history, too: “The nickel moving picture show may be the nucleus of an institution which will beggar the gladiatorial shows of the Roman emperors and bring our ancestors back from their graves in astonishment.” "Secrecy Would Be Impossible," the articles says, and notes this new invention will “implies the absolute destruction of all privacy.” In the future, "it will mean that men will have to live their lives in the full glare of publicity."
There will also be changes in the newspaper of the future. "The newspaper office of the future," Armengaud predicted, "will be really a theater where on an enormous screen the principal events of the world will be reproduced, with phonographs giving the words of the actors. Who would care to read a description of the installation of a president or of a battle in Morocco when he could go and see the whole event portrayed in actuality before his eyes?" history photography motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel television telegraph photography and visual communication telegraph, and photography photography, and telegraph selenium cameras phonograph news and journalism newspapers, and new media war privacy privacy, and new media Will Scientists Succeed in Destroying Distance 7500 Will Wireless Next Bring Us Radio Sight? New York Times
Dec. 7, 1924
9 1 radio television radio seeing at a distance television, and origins radio, and pictures Will Wireless Next Bring Us Radio Sight? 14320 Will ‘Cold Light’ Soon Be a Scientific Fact? New York Times
July 23, 1916
SM 7 This article talks about “A cold light moving picture projector on which the film may be stopped without danger of ignition.” The subtitle of this article reads: "M. Dussaud, French Engineer, Has Just Reported Definite Progress in Solving Problem That Will Be Revolutionary." motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, as fire harzards celluloid motion pictures, and celluloid materials materials, and celluloid celluloid, as fire harzard electricity electricity, and motion pictures motion pictures, and electricity theaters, and electricity electricity, and theaters children and media motion pictures, and children children, and motion pictures children, and theaters theaters, and children lighting lighting, and cold light lighting, and celluloid celluloid, and cold light motion pictures, and cold light theaters, and cold light children Will ‘Cold Light’ Soon Be a Scientific Fact? 13390 Wilson Won’t Resign at Once New York Times
July 4, 1912
1 This article mentions the use of motion picture machines during the 1912 campaign. politics journalism history history motion pictures history and new media motion pictures, and history history, and motion pictures materials materials, and historical preservation historical preservation historical preservation, and materials historical preservation, and motion pictures motion pictures, and historical preservation presidents and new media Wilson, Woodrow Wilson, Woodrow and new media Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson news and journalism motion pictures, and journalism journalism, and motion pictures politicians, and new media Wilson Won’t Resign at Once 6370 Wins World Tour for Two with Essay on Pictures New York Times
Oct. 17, 1926
X 5 This article reprints excerpts from top three winner in essay contest on the experience of going to the movies. The winner talks about movies and vicarious travel, movies and the news, and says of movies and history (quoting from the essay): “‘Great characters who have swayed the destines of national reappear before me and I live in ages past, experiencing their glorious triumphs and ignominious defeats.’” The winner also says of movies that “‘They unlock the treasure house of Romance and keep its scared fire burning.’” The third place winner was a recent immigrant and talks about movies and Americanization. nationalism journalism history motion pictures, and Americanism motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanization Americanization, and motion pictures motion pictures, and Americanization news and journalism motion pictures, and journalism journalism, and motion pictures Wins World Tour for Two with Essay on Pictures 1330 Wiring the World: The Explosion in Communications Washington, D. C. Books by U.S. News & World Report
1971
Newman, Joseph Directing Editor This book argued in 1971 that there was “every reason to believe that we are now at the approaches of another great revolution -- one which may have even greater repercussions than the invention of the automobile, the airplane, and television. This extraordinary development -- new techniques of communication which will bring all forms of consumer services, education, and entertainment directly into the home from other points in the country and in the rest of the world -- is also likely to create new problems.” This work discusses cable television, satellite technology, videocassettes, and picture telephones. Chapter 9, “As Seen From the White House,” is an interview with Clay T. Whitehead, then director of the Office of Telecommunications Policy in the Nixon administration. This book contains good charts on the growth of cable and satellite broadcasting, as well as satellite telephone circuits. video cassette recorders (VCRs) nationalism interactivity magnetic recording Nixon, Richard video cassettes presidents, and new media Nixon administration communication revolution materials materials videotape magnetic tape community democracy non-USA VCRs telephones, and picture phones telecommunications satellites information technology Information Age general studies cable communication revolution democracy and media automobiles aeronautics and space communication television information age information technology, and education information technology, and entertainment entertainment cable, and entertainment cable, and television television, and cable Whitehead, Clay T. Nixon Administration and communication telecommunications, and policy satellites, and broadcasting global communication nationalism and communication information technology, and consumers satellites, and technology telephones video cassettes telephones, and video information highway metaphors interactive media transportation Wiring the World: The Explosion in Communications 1050 Woes of the Moving Picture Man New York Times
Dec. 19, 1909
SM 11 This article gives a description of open-air movie making in the area around Fort Lee, NJ. One scene involving clergy was interrupted by locals who protested. The subhead of this article reads: "Scenes That Never Come Before the Public An Open Air Performance." actors acting motion pictures motion pictures, and New Jersey New Jersey, and motion pictures motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and acting motion pictures, silent motion pictures, and pantomime religion religion, and motion pictures motion pictures, and religion audiences audiences, and motion pictures motion pictures, and audiences acting actors Woes of the Moving Picture Man 13950 Women Censors See Twelve Reels Chicago Daily Tribune
Feb. 20, 1914
1 This articles gives specific examples of films that would censored because of violence. It also notes that in censoring “Merchant of Venice,” authoritieis substituted “Shylock” for “the Jew.” The subtitle for the article reads: "Indorse Two Cuts; Hear Orders to Reduce Crime in One Film and Trim Immorality from Another. Shylock Receives O. K.; ‘Citizens’ Jury Makes Only Change in Subtitle in ‘Merchant of Venice'." Chicago, IL censorship motion pictures violence motion pictures, and violence violence, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings sensationalism motion pictures, and sensationalism sensationalism, and motion pictures violence, and sensationalism sensationalism, and motion pictures motion pictures, and Chicago Chicago, and motion pictures censorship, and Chicago Chicago, and movie censorship censorship, and violence violence, and censorship motion pictures, and anti-Semitism anti-Semitism, and motion pictures anti-Semitism Women Censors See Twelve Reels 14130 Women Object to Pictures of Bull Fight Chicago Daily Tribune
Nov. 13, 1904
2 Women objected to moving pictures of a bull fight at lecture (given by Prof. Dwight L. Elmendorf) before the Brooklyn Institute of Arts and Sciences. Chicago, IL censorship motion pictures violence motion pictures, and violence violence, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings sensationalism motion pictures, and sensationalism sensationalism, and motion pictures violence, and sensationalism sensationalism, and motion pictures motion pictures, and Chicago Chicago, and motion pictures censorship, and Chicago Chicago, and movie censorship censorship, and violence violence, and censorship women women, and violence women, and motion pictures motion pictures, and women censorship, and women women, and censorship Women Object to Pictures of Bull Fight 42370 The Wonderful Kinetograph Current Literature
July 1891
7 3 451-54 This article, the substance of which originally appeared in the New York Herald, discusses Thomas Edison's plans for the "kinetograph." "The popular preacher, the eminent public speaker, with it can all be brought to the home," it says. (451) The kinetograph, Edison says, is "merely a mechanical eye" that can record an "original scene" so that it to audiences "as true as life." (Edison quoted, 453) The article says that Edison has been experiment with a camera, run by electric motor, that takes 46 impressions each second. (452) At this speed, "2,760 photographs can be taken each minute and 82,800 every half-hour." (452) Edison notes that it can record prize fights and that he hoped to have a demonstration ready for the Chicago Exposition. (454) home history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and movement history and new media motion pictures, and history history, and motion pictures democracy democracy, and entertainment sound recording motion pictures, and sound recording sound recording, and motion pictures kinetoscope Edison, Thomas Edison, Thomas, and biography Dickson, W. K. L., and kinetoscope kineto-phonograph motion pictures, and sound motion pictures, and phonograph phonograph Dickson, W. K. L. kinetoscope, and phonograph electricity electricity, and Thomas Edison motion pictures, and magic motion pictures, as mysterious home, and new media home, and motion pictures motion pictures, and home kinetograph Edison, Thomas, and kinetograph The Wonderful Kinetograph 37230 Wonderful New Picture Section New York Times
April 5, 1914
9 This article discusses the rotogravure process the New York Times used to reproduce color pictures of art work from the Altman collection. It notes that the presses were imported from Germany and that the Times is the only paper in the New York City area to use this process. The article says this is the first time the Times rotogravure presses have been used to reproduce picture and it describes how the process works.
The article refers to the previous Sunday edition. "Admired as this color section was, it is the opinion of many artists, art dealers, and others who have had the opportunity to examine advance copies of today's art section that, although it is in one color, it surpasses the multi-color section issued a week ago.
"To-day's art supplement is the first work produced by the Times upon the new rotogravure presses which it has imported from Germany and installed in the Times Annex. In this process there is no stereotyping or or electrotyping to mar the delicacy of the work. Also there is no printing surface to be worn away by the printing of a large edition.
"The picture to be reproduced is transferred by photographic processes to a copper cylinder and etched thereon by the application of chemicals. The picture is therefore composed of a multitude of small depressions on the cylinder. In its revolution this cylinder is entirely covered with ink, but just before the printing it passes under a steel blade which removes all the ink except that in the depressions. The paper received the ink from this etching, with what wonderful softness and beauty of effect may be seen in the examples presented to-day.
"While to-day's rotogravure supplement was regarded by the Times as something of an experiment, the photographers, engravers, and pressmen employed being all new to their tasks, the results have been so satisfactory that it is hoped to supply rotogravure sections with the Sunday Times hereafter without interruption.
"The Times has, for a term of years, the exclusive right to the use of this process in connection with newspaper work in New York, which promises to its Sunday readers picture sections of a quality never before equaled and not elsewhere obtainable.
"The next rotogravure art section will be issued with next Sunday's Times. Appropriate to the day, Easter Sunday, it will contain seventeen pictures of Jerusalem and the Holy Land from photographs taken only a few weeks ago for the New York Times by Earle Harrison, the well-known travel photographer."
The subtitle for the article reads: "Reproductions of the Altman Pictures Are of a Quality Never Before Attained. The Times's New Process. Belongs to This Newspaper Exclusively in New York -- Presses Imported from Germany." rotogravure journalism magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies photography, and space and time space and time photography, and time photography, and space photography, and travel advertising history Wonderful New Picture Section 15670 Wonderful Things Done by the Camera New York Times
Sept. 28, 1895
3 The subtitle to this articles reads "Vast Advances in the Science of Photography in Recent Years," and the article discusses the progress in photography over the past generation. It talks about “instantaneous photography” and cameras with exposure time of one millionth of a second, a photographic gun that than takes dozen picture a second, and sending pictures by telegraph. It says that "today the camera's sensitive eye ... shows every motion of a bullet from the instant it leaves the muzzle of the gun until it comes in contact with the target." photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, instantaneous motion pictures, and number of pictures electricity photography and visual communication photography, instantaneous photography, and speed of telegraph photography and visual communication telegraph, and photography photography, and telegraph Wonderful Things Done by the Camera 42140 Wonders of the Kinetoscope Current Literature
May 1894
15 5 442-43 This article discusses Thomas Edison's kinetoscope and a rather lengthy excerpt from an interview with Edison discussing how he built this device. A word about definitons: "The kinetograph is the machine which takes the photographs, and the kinetoscope the machine which displays them to the eye," this article explains. (442) Edison describes the difficulties in determining how many photographs needed to be taken each second to give the illustion of true motion. At first, 25 photographs were taken but this was not adequate and the number was increased to 45 or 46.
Edison assumed from the outset that moving pictures would have a special importance in preserving history. He was not satisfied with the kinetoscope, a box that required a single viewer to look moving pictures through a “peephole about two inches long and half an inch broad, covered with glass,” and announced in May, 1894, that his goal was to project the moving images on a big screen so that a large number of people could watch them at the same time. He then hoped to combine the moving pictures with the phonograph so that the personalities projected on the screen “might be heard plainly.” Once these two things had been accomplished, he predicted, it would be possible to catch a speaker’s “every gesture … and every inflection of … voice” and “exhibit both to admiring audiences a hundred years after he is dead.” (443) A great person would “never die if his pictures and speeches are saved for posterity by the kinetograph and the phonograph,” Edison said.
Of the kinetoscope, Edison claimed that it was mainly "a work of sentiment" on his part and he doubted if there was "much money in it." (443)
This article was published originally in the New York Sun. history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and new art form Edison, Thomas Edison, Thomas, and motion pictures Edison, Thomas, and kinetoscope motion pictures, and Thomas Edison history and new media motion pictures, and history history, and motion pictures sound recording phonograph motion pictures, and history motion pictures, and phonograph phonograph, and motion pictures phonograph, and Thomas Edison history, and sound recording history, and phonograph phonograph, and history sound recording, and history cameras cameras, and kinetoscope Wonders of the Kinetoscope 14630 Wondrous Beauty. Wednesday Night’s Pageant Los Angeles Times
May 7, 1903
A 1 This article describes that first electrical parade in Los Angeles history. electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity advertising and public relations electricity, and advertising advertising, and electricity advertising Wondrous Beauty. Wednesday Night’s Pageant 11310 World Communications: A 200-country survey of press, radio, television and film Paris; and Epping, Essex, Eng. Unesco Press/Unipub/Gower Press
1975
The information in this work is based on questionnaires on mass media facilities returned to Unesco. Included are data on the number of newspapers, radio transmitters, television stations, and motion picture theaters in 200 countries. A concise paragraph is devoted to each of these media in the various nations. United Nations References, Statistics, Timelines, Maps journalism news and journalism non-USA news television radio motion pictures reference works books, periodicals, newspapers global communication Third World newspapers Third World developing nations UNESCO World Communications: A 200-country survey of press, radio, television and film 36470 The World of Suzie Wong Richard Quine Paramount Pictures Corp.
1961
This movie dealt with a beautiful prostitute, played by Nancy Kwan, and was filmed in Hong Kong and England. It was one of a number of so-called hybrid or "runaway" films made during the 1950s and early 1960s. Its theme, prostitution, and sometime setting (a brothel) were at odds with the U. S. movie industry's Production Code. However, the film played in the country leading family theater, Radio City Music Hall, an indication that American public opinion was becoming more tolerant of such topics.
Summary from American Film Institute Catalog: "When American Robert Lomax boards the ferry to Hong Kong, where he is going to start a new life as an artist, he sketches a striking Chinese woman. At first the young woman spurns his advances but she soon warms to him, telling him that her name is Mee Ling and that her father is wealthy. When the ferry lands, Robert attempts to follow Mee Ling but loses her in the crowd. He then proceeds to the Wanchai district, despite a policeman's warning that it is impoverished and disreputable. Robert is charmed by the bustling street life, however, and soon sees Mee Ling exiting the Nam Kok Hotel. When he inquires inside, the hotel owner, Ah Tong, replies that he does not know any Mee Ling, but responds excitedly to Robert's request to rent a room. Unknown to Robert, the hotel is the working quarters for prostitutes, known as "Wanchai girls," who solicit sailors and businessmen in the adjoining bar. Robert then wanders into the bar, where he sees Mee Ling, now dressed in a revealing dress, and Gwenny Lee, a Wanchai girl with whom Robert is chatting, reveals that the woman is actually Suzie Wong, the bar's most popular girl. When Robert approaches Suzie, she declares that she has never met him, even when he shows her the sketch he drew of her. Suzie finally admits that he is right, however, telling Robert that she likes to pretend that she is someone else. Suzie asks Robert if he wants her to be his "permanent girl friend," but Robert responds that he cannot afford her, despite his attraction to her. The next day, Robert calls on British banker O'Neill, to whom he explains that he grew tired of working as an architect and decided to fulfill his dream of being an artist. Robert has saved enough money to last for one year, and concedes that if he cannot achieve success, he will resign himself to architecture. While dictating letters of introduction for him, O'Neill introduces Robert to his daughter Kay, who is impressed by Robert's determination. Soon after, at the bar, Suzie propositions Ben Marlowe, an English businessman drinking to forget his marital woes. Robert admires Suzie's exuberant dancing, and later, unable to stop thinking about her, sends for her. Suzie tells her friends, Gwenny Lee, Minnie Ho and Wednesday Lu, that she will be Robert's girl, but learns that he wants her to model for him instead. Suzie is outraged and tells him that she will "lose face" with her friends because she is not attractive enough to seduce him. Robert insists, however, and after an evening of painting, escorts Suzie to a fancy restaurant. There, Suzie reveals that she is illiterate and that she became a prostitute after being abandoned at the age of ten. When they return to the hotel, Suzie confesses that she has feelings for him, but as Robert is about to kiss her, a sailor, looking for another girl, knocks on the door. Reminded of who Suzie is, Robert tells her to leave, but as the days pass, continues to use her as his muse. One evening, while a jealous Suzie insists on remaining in his room, Robert attends a dinner hosted by the O'Neills. Several of the racist guests deride Robert's enthusiasm for Chinese culture, but Robert refuses to accept their snobbery. Robert then takes Kay to his room to see his paintings and is embarrassed to find Suzie on the bed. After Kay departs, Robert orders Suzie out, but as she descends the staircase, she is beaten by a sailor whom she had spurned. Enraged, Robert trounces the sailor. Later, Robert takes Suzie to a floating restaurant, where they run into Ben and Kay. Upset when Robert agrees to show Kay his paintings again, Suzie talks Ben into taking her home. At the hotel, Kay is moved by Robert's work and volunteers to sponsor it in London. Robert agrees, but his mood sours when Suzie does not come to model the following day. When Suzie does show up, she provokes another argument with Robert about their relationship. Ben interrupts them to ask Suzie to become his mistress, and because she and Robert are still quarreling, Suzie accepts. As time passes, Suzie boasts about Ben's devotion, even claiming that he intends to divorce his wife and marry her. One afternoon, when Suzie arrives wearing westernized clothes, Robert tears them off, telling her that she looks like a "cheap European streetwalker." Ben summons Robert to his club soon after to tell him that he is returning to his wife, and persuades him to break the news to Suzie. Although Robert tells her gently, Suzie sobs, repeating her tale that she has a wealthy father and is not "a dirty street girl." Unable to stop himself, Robert takes Suzie in his arms and asks her to stay with him. Soon the couple is living together in the hotel, with Robert painting more enthusiastically than ever. He begins to grow curious, however, about Suzie's daily absences, and one morning, follows her up a hillside path to a small house, where he finds her holding a baby who she declares is hers. Explaining that the baby, named Winston after Winston Churchill, was fathered by a government official who did not want him, Suzie begs Robert not to send her away, and Robert embraces the child. His new family depletes his savings, however, and after both Kay and Suzie offer him money, he decides to give up painting and asks O'Neill to find him a job. When he informs Suzie, she offers to return to work, telling him that it is only like holding someone to dance. Horrified, Robert throws her out, although he quickly regrets his actions and spends days searching for her. One night, when he returns to his room, Kay is waiting to tell him that one of his paintings sold in London. Robert reveals that he has lost Suzie, but Kay, misunderstanding, assures him he can find another model. When Robert proclaims his love for Suzie, Kay counsels him to seek advice from her father, but she instead pressures O'Neill to help her win Robert for herself. Although O'Neill protests that association with Suzie would ruin him, Robert asserts that he would gladly marry her. After he leaves Kay's, Robert finds Suzie waiting for him outside the Nam Kok. Relieved when Robert embraces her, Suzie pleads with him to help her find Winston and explains that due to the heavy rains, many hillside houses have been demolished. Robert and Suzie force their way up the hill, only to discover that Winston has been killed in a landslide. Later, in a temple ceremony, Suzie's friends help her burn paper symbols, such as books and a toy rickshaw, enabling them to reach Winston in the afterlife and enrich his existence there. Suzie asks Robert to participate by writing a letter of introduction recommending Winston for a good job when he grows up. After he burns the letter, Robert asks Suzie to marry him, and they then leave the temple together."

"Note: In the opening credits, the title card for the production companies reads: "A World Enterprise, Inc.--Worldfilm Limited Co-Production." Although numerous reviews refer to "Suzie Wong" and her friends as "yum yum" or "yum-yum" girls, that term is not used in the film. In the picture they are called "Wanchai girls," after the area in which they work as prostitutes.
In 1957, trade paper news items announced that producer Ray Stark and his partner, Eliot Hyman, had purchased Richard Mason's novel from galleys for their company, Associated Artists, which would later become Seven Arts Productions. Stark and Hyman co-financed the Broadway production based on Mason's novel and owned the film rights to the property, according to the Var review of the play. The successful stage production, which opened in New York City on 14 Oct 1958, featured the Broadway debuts of France Nuyen as Suzie and William Shatner as "Robert Lomax."
In Jul 1958, HR announced that Paramount would produce a film version of the play and novel in conjunction with Seven Arts. Although Stark had previously worked as a literary and talent agent, The [H]World of Suzie Wong marked his first experience as a motion picture producer. In a Dec 1960 NYHT article, Stark stated that the play, which did excellent business despite receiving poor notices, was valuable to him because he "saw faults which had to be corrected in the film...the play provided a framework for the film."
Information in the Paramount Collection, located at the AMPAS Library, indicates that William Schorr was scheduled to co-produce the film with Stark. Although a 15 Jul 1959 HR news item added that Schorr had recently joined Stark's company, his contribution to the completed picture has not been confirmed. According to a studio press release, the picture marked the first time that screenwriter John Patrick toured Asia for research purposes, even though he had previously written the screenplays for the 1955 Twentieth Century-Fox film Love Is a Many-Splendored Thing (see above) and the 1956 M-G-M picture Teahouse of the August Moon (see above), both of which were set in Asia.
According to an 18 Jun 1959 "Rambling Reporter" item, Paramount initially considered hiring British director Jack Clayton, who had recently helmed Room at the Top, to direct the film. Jean Negulesco was offically hired in late Oct 1959, according to HR, simultaneous to the casting of William Holden as Robert. [Holden had been Stark's client when Stark was an agent, according to a 19 May 1960 HR news item.] As noted by contemporary reviews, when Holden was cast as Robert, the character was changed from a young man to one nearing forty, with many reviews applauding the change, but others commenting negatively on Holden's age and haggardness in the film. The picture marked Holden's first since moving to Switzerland to avoid the high personal income taxes then faced by American citizens. As noted by HR news items and modern sources, Holden was highly criticized in film circles for his move and for insisting on working only in productions that were filmed abroad. Because The [H]World of Suzie Wong was shot in Hong Kong and the M-G-M Studios in Boreham Wood, Elstree, England, it qualified as a British quota picture, according to a Dec 1959 HR news item.
Although Eurasian actress Nancy Kwan played Suzie in the finished film, the casting history of the role was complicated. Nuyen, who received acclaim for her Broadway performance as Suzie, was not immediately cast in the film, according to HR news items, which reported that Hyun Choo Oh, "Miss Korea" in the 1959 Miss Universe pageant, and Kwan, a dancer studying ballet in England, were among those considered for the role before Nuyen. In Sep 1959, HR noted that Stark and Patrick had just returned from a 17,000-mile location scouting trek through Honk Kong, Japan and the Philippines, during which they interviewed "hundreds" of Asian women for roles. In Dec 1959, HR announced that "after negotiating for months," Stark had secured Nuyen's services for the part. According to a Jul 1960 NYT article, when Nuyen was cast as Suzie for the movie, Kwan replaced her in the title role in a theatrical company touring America and Canada.
The picture, which began shooting on 7 Jan 1960, was shut down in early Feb due to the illness of Nuyen, which caused her to drop out of the production, according to HR news items. Other contemporary sources reported that the main reason Nuyen left the film was due to clashes between the star and producer over how the role should be played, and that her departure was not voluntary. A 4 Feb 1960 HR news item reported that Stark was forced to conduct a "second global search for another Suzie," with a 10 Feb 1960 Var article stating that actresses considered to replace Nuyen included Natalie Wood, Nobu McCarthy, Lisa Liu, Rita Moreno, Grace Chang, Pascale Petit, Charita Soliz and Luz Valdez. On 15 Feb 1960, HR announced the casting of Kwan, who made her motion picture acting debut in the film.
Only a few days after the casting of Kwan, production was again disrupted when Negulesco stepped down and was replaced by director Richard Quine. According to a HR news item, the change was made due to "differences between [Stark and Negulesco] over portions of the story still to be filmed." The switch to Quine caused problems for the production with the Directors Guild of America, according to a 19 Feb 1960 HR news item, because Quine "had failed to notify the Guild...before entering into negotiations to replace Negulesco." According to the news item, DGA regulations required that the "present director of a film be notified of another's intention to dicker for his spot." A DV item on the matter stated that possible disciplinary action against Quine was to be decided by the guild's board of directors. It has not been determined how much of Negulesco's work remained in the completed picture.
The casting of Kwan necessitated that the production leave England, where interiors were being filmed, to reshoot the Hong Kong exteriors already done with Nuyen. Extensive location shooting in Hong Kong was redone in Apr and May 1960, at a cost of several hundred thousand dollars, according to contemporary reports. In a Mar 1960 LAT article, Stark asserted that both Kwan and Quine had been his first choices for the film anyway, but that Kwan had "lacked experience" when she was tested originally.
Although a Jan 1959 HR news item stated that Ron Randell would reprise his Broadway role of "Ben Marlowe" for the film, Michael Wilding ultimately was cast in the part. A 10 Dec 1959 HR news item announced that Sir Ralph Richardson had been signed for the picture, presumably for the role of "O'Neill." Although a HR news item includes John Wallace in the cast, his appearance in the completed picture has not been confirmed. A studio press release reported that Juliet Yuen, the mother of the one-year-old child who played "Winston Wong," had an "important supporting role," but her appearance in the final film also has not been confirmed. An Apr 1960 Var article reported that members of the British Actors Equity Association were questioning the casting of Wilding's wife, socialite Susan Nell, in "a three-minute roll [sic], specially written into the picture." It has not been determined, however, if Nell, who was not a professional actress, appears in the completed picture.
Yvonne Shima, who played "Minnie Ho," had played Suzie in the London stage presentation. The picture marked the screen debut of Jacqui Chan, who also appeared in the London version of the play, as well as the first appearance in an American film by British actress Sylvia Syms. According to Aug and Sep 1960 HR and LAEx articles, the picture was dubbed in Hamburg, West Germany at the Real Studios, because Holden was then in Germany filming the 1962 Paramount release The Counterfeit Traitor (see AFI Catalog of Feature Films, 1961-70).
According to information in the MPAA/PCA Collection at the AMPAS Library, Paramount submitted a copy of the screenplay to the PCA for approval in late Oct 1959 even though there were "lots of things still wrong with it," because the picture was being "rushed into production" abroad, with most of the crew and cast to be leaving shortly. The PCA replied that the basic story was unacceptable due to "the portrayal, both in theme and in detail, of the mechanics of prostitution and the use of a brothel as a locale." Also singled out by the PCA was the relationship between Suzie and Robert, which was deemed a "glorification of an illicit sex affair without any compensating moral values." Despite a mid-Nov 1959 conference between PCA and Paramount officials, the script was rejected again in late Nov for the same reasons.
On 9 Dec 1959, PCA head Geoffrey I. Shurlock noted for the file that Paramount was "endeavoring to get Mr. Stark to shoot as many protection shots covering the unacceptable items discussed in our various letters and conferences," and also that because the picture was to go into production in Hong Kong in Jan, there was little the PCA could do until the finished picture was submitted for review. On 18 Aug 1960, Shurlock wrote to Paramount, stating that it was the "unanimous opinion" of the PCA staff that the completed picture could not be approved for a Code seal, due to the depiction of prostitution and the sexual relationship between Suzie and Robert.
On 19 Aug 1960, however, the assistant of Paramount president Barney Balaban called Shurlock to express Balaban's distress over the rejection of the picture, which he considered "inoffensive." Shurlock then discussed with Paramount censorship liaison Luigi Luraschi the "involvement of the studio with the producer [Stark, who maintained control over the final product because he held the rights to the material], and the studio's inability to make any changes in the picture." Luraschi and another Paramount executive told Shurlock that the PCA's rejection of the picture had been leaked to the press, and upon their request, Shurlock issued another letter withdrawing the official rejection notice. When Luraschi asked for a review of the situation by the PCA Review Board of the MPAA, the board screened the film and decided that the picture could be approved without eliminations and released with a Code seal.
The picture, which received a "B" rating from the National Catholic Legion of Decency, was listed as "restricted entertainment" in several areas of Canada. The Var review, noting the picture's controversial subject matter, stated: "Box office is going to reflect the moral stance of the filmgoing public. There is likely to be some controversy stirred up, and the result will be a stimulus to adults and a caution to parents." Apr 1961 DV items reported that Paramount encountered some difficulties in placing a newspaper advertisement that featured Kwan in a revealing dress, which had a long slit up to her hip.
In an Aug 1960 article about the film's censorship difficulties, DV reported that an extra day's shooting had been set to "change the ending and bring added emotions into play," although the new ending was "reported to have nothing to do with the Code squabble." The article stated that the scene would include Kwan and "three Chinese girls featured in the film," but no further information about a possible alternate ending or additional shooting has been found.
As noted by contemporary sources, Paramount arranged for special engagements of the picture in selected cities in Nov and Dec 1960, including New York, Los Angeles, Chicago, Philadelphia and San Francisco, so that The [H]World of Suzie Wong would be eligible for Academy Award consideration for 1960, although the picture's national release date was not until Feb 1961. According to several 1960 news items, IATSE planned to picket showings of the film in Los Angeles and New York to protest the trend toward "runaway productions" filmed abroad rather than in the United States. The union particularly intended to target Holden, who, as noted above, had begun filming abroad exclusively. Although a song entitled "Suzie Wong," written by James Van Heusen and Sammy Cahn, was used in the picture's exploitation, it was not included in the final release. The Los Angeles premiere at Grauman's Chinese Theatre, which was a benefit for the City of Hope, featured UCLA students of Asian descent pulling guests to the theater in rickshaws, according to reports about the event.
The World of Suzie Wong received mixed reviews, with a number of critics remarking on the spate of films then in release that featured prostitutes as main characters, including Butterfield 8 (see above) and the Greek production Never on Sunday. Some reviews also criticized the picture's portrayal of the Chinese characters, with Time labeling it "a mad chow mein of Chinese-laundry English," and "a cruel jest to the undernourished minions of Asia's vast sex industry, many of them dead of disease or exhaustion long before they reach the heroine's comparatively advanced age: 21." Numerous reviews did praise the photography of the location sites, however, as well as the acting, especially Kwan's. The LAHE review commended her appearance as "one of the most enchanting first performances in a long time."
In Nov 1960 and Feb 1961, HR and Var reported that Stark was selling his almost fifty percent interest in the film property to Hyman, who had maintained control of Seven Arts, although he was not directly involved in the picture's production. The Feb 1961 Var item stated that Stark's reasons for selling his interest in the high-grossing film were unknown, and that Paramount had offered to buy him out at one point but the deal was not consumated.
Although in the 1960 Cosmopolitan article, author Richard Mason, who spent five months in Hong Kong researching his book, stated emphatically that the character of Suzie was totally fictitious, in Oct 1965, DV reported that Wong Yuet Lan had filed a $500,000 lawsuit against Paramount, Mason and the publishers of the novel. Wong, who claimed to be the "real" Suzie Wong, stated that the book and film made "unauthorized use of her name and incidents of her private life." In addition to the damages, Wong asked for an injunction against further distribution of the book and the film, which had been reissued "several times," according to the DV article. The outcome of the suit has not been determined."

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Hollywood Reporter 24 May 1960, p. 2. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and prostitution Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code World of Suzie Wong motion pictures, and foreign markets motion pictures, and American-interest film Legion of Decency values Production Code, and prostitution sexuality motion pictures, and sexuality sexuality, and motion pictures The World of Suzie Wong 16090 The World’s Busy Workers. Celluloid Los Angeles Times
May 18, 1903
4 This article talks about the multiple uses of celluloid but notes that in 1903 only three United States companies manufacture celluloid for sale. The discusses the fire hazards posed by celluloid and the process by which the material was made. photography motion pictures materials celluloid motion pictures, and celluloid celluloid, and motion pictures materials, and celluloid celluloid, and materials photography and visual communication celluloid, and photography photography, and celluloid The World’s Busy Workers. Celluloid 14410 Writing the Movies: A New and Well-Paid Business New York Times
Aug. 3, 1913
SM 4 This article says that a "novel form of entertainment" in the form of "countless moving-picture houses," have “cropped up, as if by magic all over the continent….” The article discusses the work of screen writing. The play, it says, is only about five percent of the successful film. The subtitle of this article is: "This Latest of Professions Assuming Great Proportions and Making Fortunes for Those Who Can Make a Success of It -- Some of the Men and Women Who Have Hit the Right Note -- Why Most of Those Who Attempt It Are Unsuccessful." motion pictures theaters motion pictures, and theaters theaters, and motion pictures metaphors metaphors, and magic motion pictures, and magic motion pictures motion pictures, and screen writing motion pictures, and writers Writing the Movies: A New and Well-Paid Business 14050 Written on the Screen; Authors and the Screen New York Times
June 1, 1919
46 This article quotes author Philip Curtiss saying that the movies should admit “they really are a primitive entertainment for simple minds.” censorship censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and crime motion pictures, and crime motion pictures critics motion pictures, and critics critics, and motion pictures Written on the Screen; Authors and the Screen 20510 X-Rated Motion Pictures: From Restricted Theatres and Drive-ins to the Television Screen? Valparaiso University Law Review
Fall, 1973
8 1 107-24 This article examines legal issues involving X-rated entertainment and cable television. entertainment Federal Communications Commission (FCC) entertainment, home values sexuality obscenity religion values morality home entertainment regulation values community law censorship and ratings censorship home court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures television FCC, and television television, and FCC cable TV, and FCC FCC, and cable TV censorship, and motion pictures motion pictures, and censorship? motion pictures, and freedom motion pictures, and obscenity obscenity, and motion pictures censorship, and community standards community standards, and censorship pornography pornography, and television pornography, and theaters pornography, and community standards, theaters motion pictures, and cable television television, and motion pictures FCC indecency law, and indecency cable television, and indecency indecency, and cable television morality, and cable television pornography, and television television, and pornography home entertainment revolution pornography, and home X-rated films cable home, and new media values X-Rated Motion Pictures: From Restricted Theatres and Drive-ins to the Television Screen? 14170 Year’s Fight with Vice. Anthony Comstock’s Annual Report About What He Has Done. Tons of Bad Things Captured…. New York Times
Jan. 23, 1896
9 This articles lists some of the materials that vice-hunter Anthony Comstock had confiscated during the previous year. censorship photography motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings Comstock, Anthony Comstock, Anthony, and motion pictures motion pictures, and Anthony Comstock censorship, and Anthony Comstock Comstock, Anthony, and movie censorship photography and visual communication photography, and Anthony Comstock Comstock, Anthony, and photography Year’s Fight with Vice. Anthony Comstock’s Annual Report About What He Has Done. Tons of Bad Things Captured…. 19200 Young v. American Mini Theatres. 427 U. S. 50 (1976) 1976 Realizing that the Miller v. California (1973), Paris Adult Theatre (1973), and Jenkins (1974) cases by themselves were inadequate to eliminate adult movie houses, communities tried a different approach that involved controlling land use and concentrating such theaters into “combat zones.” The goal was to prevent concentration in areas where residential neighborhoods and businesses might be destroyed. The United States Supreme Court upheld this method of control in two cases, Young v. American Mini Theatres (1976) and City of Renton v. Playtime Theatres, Inc. (1986). Neither case involved criminal penalties or suppressing films completely. U. S. Supreme Court Young v. American Mini Theatres (1976) audiences Supreme Court (U. S.) values archives sexuality obscenity values community law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases motion pictures, and freedom Young case (1976) court cases, and Young obscenity, and Supreme Court (U. S.), and Young case motion pictures, and obscenity obscenity, and motion pictures obscenity, and Young case censorship, and states censorship, and community standards community standards, and censorship pornography pornography, and Young case Young case, and pornography pornography, and community standards theaters (adult), and Supreme Court (U. S.) Supreme Court (U. S.), and adult theaters motion pictures, and combat zones Supreme Court (U. S.), and combat zones theaters Young v. American Mini Theatres. 10930 The Zenith Story Chicago Zenith Radio Corp.
1955
This work has information on early Zenith radios and the company's work in the development of television. corporations radio television radio radio, and shortwave Zenith The Zenith Story 31740 Zing Go the Strings of Brigitte's Heart Life
Sept. 8, 1958
45 45-46, 48, 51 One of several articles in mainstream U. S. magazines publicizing Brigitte Bardot after her movie And God Created Woman. magazines Bardot, Brigitte magazines, and sexuality sexuality women women, and magazines magazines, and sexuality motion pictures motion pictures, and Brigitte Bardot Zing Go the Strings of Brigitte's Heart 14670 ‘Be Decent or Close,’ Alcock Warns Theaters Chicago Daily Tribune
June 18, 1918
18 The article quotes Acting Chief of Police Alcock in Chicago on movie posters: “‘The posters some of the movies have displayed are vile. I have ordered all these removed. It is bad enough to have a picture based on sex matters without having posters outside promising something “racy” inside.’” The article's subtitle reads: "Runways Must Go Unless the Women Put on More Clothes." Chicago, IL censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures censorship, and movie advertising advertising, and censorship motion pictures, and Chicago Chicago, and motion pictures posters, and motion pictures motion pictures, and posters advertising, and posters advertising, and sexuality sexuality sexuality, and movie advertising sensationalism, and sexuality sexuality, and sensationalism nudity nudity, and theaters theaters, and nudity advertising posters ‘Be Decent or Close,’ Alcock Warns Theaters 13460 ‘Coon’ Songs in Politics Chicago Daily Tribune
Sept. 13, 1898
1 The subtitle for this article reads: "Congressman Lorimer Prepares a Spectacular Program for Opening His Campaign. Pictures with Oratory. Scenes of the War and Portraits of Heroes Will Intersperse Arguments for Re-election."
This article says that a Republican congressman to use moving pictures of Spanish American War engagements at Santiago, war vessels parading in New York harbor, and its heroes in reelection campaign. “‘Coon’ songs and moving pictures of the war, the captivating attractions of the summer gardens and theaters of Chicago, will be used by Congressman William Lorimer in his campaign for reelection as Representative from the Second Illinois District. The first trial of this new idea in politics will be made tomorrow night at Bartlett, in Hanover Township. Following that will be one night stands at all the country towns in the Lorimer territory….
“Besides the picture already mentioned, ‘The Bombardment of Matanzas,’ ‘The Battle of Balquiri,’(?) and some scenes of life in the camps will be shown, as well as pictures of McKinley, Dewey, Schley, Miles, Shafter, Merritt, and other heroes. It is the first time anything of this kind has ever been attempted in a political campaign.” politics journalism history magazines photography motion pictures history and new media motion pictures, and history history, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication presidents and new media McKinley, William McKinley, William, and motion pictures McKinley, William, and assassination motion pictures, and William McKinley politicians, and new media war war, and motion pictures motion pictures, and war Spanish American War motion pictures, and Spanish American War Spanish American War, and motion pictures ‘Coon’ Songs in Politics 14140 The ‘Dime Novel’ Picture. More ‘Newspaper Neurasthenics’ Moving Picture World
Aug. 27, 1910
7 9 452-53 Moving Picture World quotes critic of movies comparing them to dime novels: “What, indeed, is the moving picture show but dime-novel literature flashed on a screen by means of magic lanterns and purveyed to youthful minds pictorially for half the old price? It is in the dime novel that its enormous popular vogue had its source and it is by dime-novel standards that its moral influence must be measured.” (452) (emphasis in original text) The article goes on to refute this view. children censorship words vs. images motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children images vs. words motion pictures, and dime novels dime novels dime novels, and motion pictures values values, and dime novels values, and motion pictures critics critics, and motion pictures The ‘Dime Novel’ Picture. More ‘Newspaper Neurasthenics’ 14350 ‘Lightless’ Nights Will Begin Here Tomorrow Los Angeles Times
Aug. 4, 1918
II 7 This article reports on efforts to conserve electricity during World War I. The subtitle of this article reads: "There Will Not Be So Many, However, as in Northern Part of the State." Los Angeles motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity motion pictures, and Los Angeles Los Angeles, and motion pictures advertising ‘Lightless’ Nights Will Begin Here Tomorrow 1260 ‘Movies’ by Auto Now; Novel Scheme Uses Car Motor to Show Films in Rural Districts New York Times
Dec. 27, 1914
X 5 This article reports that the automobile is used to take movies even to the remotest village; where electricity is a problem, the car can be used as a generator. “The most remote hamlet can now have a moving picture show.” These were movies on farming made for/by universities and government. motion pictures electricity, and motion pictures motion pictures, and electricity electricity motion pictures, and automobiles automobiles, and motion pictures motion pictures, and rural areas modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space democracy motion pictures, and democracy democracy, and motion pictures automobiles ‘Movies’ by Auto Now; Novel Scheme Uses Car Motor to Show Films in Rural Districts 16130 ‘Movies’ to Aid Doctors New York Times
April 7, 1914
6 The subtitle of this article reports: "French Physician Shows Films Illustrating Action of the Muscles." science medicine photography photography and visual communication photography, instantaneous modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures education motion pictures, and education education, and motion pictures motion pictures, and science science, and motion pictures medicine, and motion pictures motion pictures, and medicine France non-USA France, and motion pictures motion pictures, and France ‘Movies’ to Aid Doctors 13570 ‘Movies’ To Solve Problem of Getting Army Recruits New York Times
July 13, 1913
SM 11 This article talks about movies being used to get new recruits in the Army. nationalism motion pictures, and Americanization motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism military communication motion pictures, and military military communication, and motion pictures ‘Movies’ To Solve Problem of Getting Army Recruits 870 The ‘Movie’ Movement Los Angeles Times
April 7, 1915
II 4 This article discusses a movie theater that was once an opera house. “Where once he heard the voice of Melba, of Schumann-Heink and Calve one sits and looks at something he cannot hear at all. At the Majestic, where once Sothern and Marlowe reigned, where Mantell towered in strength, where Faversham and Forbes-Robertson moved with grace, and Nazimova blazed like a gem, we are now to see a procession of shadows. They are interesting shadows, but we shall miss the compelling magnetism and vibrant voices of the rich personalities who have in the past brought life to the stage of that beautiful house. It is the mood of the public to people their erstwhile temples of dramas with these ghosts of today. For some of us this will be like returning to a beautiful home, where we once lived in happiness, to find our garden gone to seed and indifferent renters occupying the property that once we cherished. On the other hand, the moving pictures have made their place with us and that place is too large to be confined in houses of small capacity.” The reference to silent film "ghosts" brings to mind Maksim Gorky's similar comments on seeing silent film, discussed in Matt K. Matsuda, The Memory of the Modern, p. 175. theater stage celebrity photography, and celebrity culture words vs. images photography photography and visual communication motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space images vs. words theater and stage motion pictures, and stage stage, and motion pictures personality motion pictures, as shadows history and new media Gorky, Maksim personality motion pictures, and personality motion pictures, and fame celebrity, and motion pictures celebrity culture photography, and celebrity celebrity, and photography metaphors actors acting actors, and shadows actors, as ghosts metaphors metaphors, and actors as ghosts metaphors, and actors as shadows history The ‘Movie’ Movement 14460 ‘Moving Picture Eye’; The Strange Affliction Caused by Electric Theaters Chicago Daily Tribune
Sept. 29, 1907
F 2 This article says that “The moving picture machine has gone around the world. On every side cheap theaters are springing up like the soldiers from the dragon’s teeth, and German scientists and occultists have characterized them as a positive peril to the eyesight of the next generation. No nation of the earth, they say, will escape the torture of defective eyesight if the use of the moving picture as a form of amusement becomes general, as it threatens to become, and one occultist adds ‘The next generation may be incapable of using the sense of sight with exactitude….”
“From Germany the warning has been sent out, and in Chicago there are more moving picture machines and nickel theaters than in any city in the world. The streets are dotted with them, they are penetrating into the residential districts, they have swooped down upon State street with their electric pianos, their hoarse voiced spielers, their lurid posters, their hair raising portrayals of crime and murder, their sensational pictures of train robberies and the mad pursuit of the bandits attracting throngs of children into their doors. And will these children who squander their pennies and nickels in the pursuit of the excitement of the moving picture show grow to manhood with worthless eyesight? Will they become recruits in the great and growing army of physical defectives? This is a question that the Berlin occultists already had undertaken to answer.
“…The German scientist suggests that the peril to the eyesight of the moving picture is greater than the danger of moral corruption. The peril is one that the police cannot check.”
“At no time in the history of the race was the sense of sight more essential to man’s reconciliation with his physical environment; but at no time, complains the Berlin authority, has the aid of science been more readily given to make man, through the medium of his eyes, a stranger to reality.” children Chicago, IL censorship censorship censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures metaphors metaphors, and plague spots sound recording sound recording, and phonograph censorship and ratings censorship, and movie theaters censorship, and phonograph parlors metaphors, and theaters children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children electricity electricity, and theaters sound recording theaters, and sound recording sound recording, and electric pianos non-USA Germany Germany, and motion pictures motion pictures, and Germany Chicago, and motion pictures motion pictures, and Chicago motion pictures, and eyes motion pictures, and deception metaphors, and dragon teeth theaters, as dragon teeth ‘Moving Picture Eye’; The Strange Affliction Caused by Electric Theaters 13740 A. L. M. [letter to editor] The Voice of the Movie Fans Chicago Daily Tribune
Oct. 11, 1914
G 7 In a letter to the editor, a writer says that “I agree with the movie censors that ‘a three foot kiss is long enough.’” children Chicago, IL censorship photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures motion pictures, and Chicago Chicago, and motion pictures advertising A. L. M. [letter to editor] The Voice of the Movie Fans 8780 Abbate, Janet Inventing the Internet Cambridge, MA MIT Press
1999
Abbate focuses on the social and cultural factors that influenced the Internet's design and use. Early network breakthroughs formulated in the Cold War era saw the creation of the ARPANET by U.S. Defense Department think tanks. She examines how military and academic use influenced and shaped both the Internet and ARPANET; how usual lines between the producer of technology and the end user of it intersect, sometime with surprising results; and how later users of the technology invented their own very successful applications, such as e-mail and the World Wide Web..
Since the mid- to late- 1960s the Internet has grown from an experimental military network serving about a dozen sites across the United States to a burgeoning network of networks linking millions to computers worldwide. Abbate recounts a twisting story of conflict and collaboration among a remarkable cast of characters from the government and the military, to computer scientists in industry and academia, as well as graduate students, telecommunications companies, and the individual user.
Abbate concludes that the trend toward decentralized, user-driven development that has characterized the Internet's history is a symbol of postmodern times, and says the key to the Internet's success has been its commitment to flexibility, diversity, both in technical design and organizational culture.
The book is written for the computer-literate and technically minded. The dozens of references to an alphabet soup of military-influenced acronyms abound, and the amount of computer jargon can make the uninitiated head's swim!
--Robert Pondillo
 This history of the Internet begins with the Cold War and the perfection of packet switching by the Department of Defense’s Advanced Research Projects Agency (DARPA) and ends in the mid-1990s with the popularization of the Internet and the World Wide Web. The development of the Internet, as described by Abbate, resulted from the interplay of government and military agencies, academia, the computer industry, telecommunications companies, and perhaps most importantly, net users. She finds that the Internet has progressed in an increasingly decentralized manner with success resulting from a commitment to flexibility and diversity. Abbate’s sources include documents from the National Archive for the History of Computing, ARPANET newsletters, congressional reports, interviews with central figures and a variety of secondary sources.
--Mark Tremayne R & D computers Defense Advanced Research Projects Agency (DARPA) ARPA research and development war government community democracy war Internet computers and the Internet Pondillo, Robert ARPANET Department of Defense, U. S. World Wide Web military communication democracy and media Internet, and history of Tremayne, Mark postmodernism packet switching DARPA Abbate, Janet Inventing the Internet 39990 Abbott, Arthur G. The Color of Life New York and London McGraw-Hill Book Company, Inc.
1947
Abbott begins this book by saying that "As its qualities are recognized, better understood, and more widely and intelligently applied, color may help to effect a change in the nature of humanity. If that is possible, it can be instrumental in diminishing man's most unnatural and unprofitable traits and increasing the better ones. At any rate, since it is at this moment a very important element in life and is contributing tremendously to the progress of humanity, to find out as much as can be known about it is desirable and profitable." (vii) The author maintains that "Color, a constant companion of nearly all forms of life on this earth, has, like other great forces, potential of good and of evil. It is our privilege, perhaps our duty, to learn to use it for good as much as possible. Woven into our modern civilization in such a way as to be an integral part of it, color can be taken for granted, but it cannot be ignored. The sudden removal of all color would produce chaos until vast readjustments were effected, not only in human affairs but in those of almost all other creatures associated with man." (xix)
Abbott continues: "Since its influence is manifested largely through the sense of sight, the power of color is most effective when this sense is keen." (xix) When one takes the time to actually see and understand color, then the "color of life ... takes on a new meaning. It ceases to be just another inescapable factor of existence and becomes one of the most pleasurable and constantly thrilling experiences of life." (xix)
This book is divided into seven parts and 20 chapters plus References. Part I considers "The Foundations of Color." Part II is "Colors by Nature and How Produced." Part III deals with "Colors by Man and How Produced" (e.g., dyes, paints, photography, printing, glass, etc.). Part IV is "Guides to Use of Color." Part V is "Colors for Everyone" and has a chapter on "Apparel" and another on "Buildings." Part VI covers the "Relation of Color to Man's Progress." Part VII, "References," has three sections: Organizations, Manufacturers, and Bibliography.
In Chapter 14, "Effects of Color on Life," Abbott writes that the "effects of color on the human organism are as yet only vaguely understood. It is known that under certain conditions, visual impressions (including color) affect the blood pressure and muscular, mental, and nervous activity and mood." (129) The author says that "Color helps to make things easy to see; it helps to convey moods; it emphasizes situations and increases audience interest. A deep red-orange is said to have the most exciting influence, and yellow-green the most tranquilizing, and violet the most subduing influence." (131) For a discussion of the symbolic uses of colors, see also pp. 214-17.
This work talks about the likely effects of specific colors such as green, blue, orange, yellow, violet, and red. Of red, the author says that it is a "mental stimulant, ... warm and irritating. It aggravates any inflammatory condition, and it increases the activity of the male sex glands. It is effective in adjusting cases of melancholia. Dr. [Edward] Podolsky reports the case of the employees in the Lumiere photographic factory in France. The red light under which they work had a bad effect on their temper. When the lights were changed to a particular green, the results were excellent." (132)
In Part VI, Chapter 19 ("General Uses Through the Years"), Abbott says that color was often used for camouflage and other forms of deception. (210) It discusses efforts to use electric lighting and color as a form of communication and how this combination can be "independent of languages, nationalities, education, and temperament, and ... the degree of civilization." (211) There is also a consideration of motion pictures that use color (211-12). The author notes that in 1925, "Maude Adams designed 'Color Dynamics,' which was produced by the Eastman Kodak Company." (12)
Chapter 20 covers "Special Uses of Colors Today." Abbott argues that black and white photography and motion pictures lack an element of life that color provides. "Color is making strides in photography of all kinds and may some day eliminate the black and white motion pictures. Still compositions in black and white will always have a certain amount of appeal, but when life and action are portrayed, they lack a very vital element without color. If the goal of motion pictures is to dramatize and present a realistic illusion of life, the ultimate product will incorporate all the elements of sight, as well as of sound. Sight includes not only color but solidity or relief. Solidity can and may be effected by applying the principles of the stereoscope. The color of animated cartoons has contributed enormously to their popularity. Educational films are vastly more instructive with color than without. Historical dramas, musical comedies, operas, or any other spectacles are only half a forceful without color." (222) (emphasis added) This work comments on the use of makeup and color the faces of actors and notes the problems of using makeup when something is filmed in black and white. (223-24)
Abbott observes that by 1947 many news publications were using color. "Every magazine on the newsstand employs color on its cover to attract attention. Some newspapers run a line of color in a margin to indicate the final or some other edition. The old Police Gazette, a fixture in nearly every barber shop in the country for years, was recognized by its pink paper throughout. The current publication has added color printing to its make-up." (228)
This work explains that advertisers used color because it makes their products more attractive and saleable. "A most ingenious and effective use of color in bringing products and services to the attention of the buying public is found in the Diorama," the author writes. (261)
This book has an interesting Bibliography (281-89) that pulls together a good deal of research (up to 1947) on the effects of color. home emotion decadence color, in literature color, and research on color color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations censorship and ratings media effects color, media effects media effects, and color color, and sensuality sexuality color, and sexuality sexuality, and color lighting lighting, and color color, and lighting color, and music lighting, and theater theater, and lighting censorship color, and nationalism nationlism, and color nationalism and communication advertising and public relations color, and advertising advertising, and color home and new media home, and color color, and home color, and red women women, and color color, and women photography and visual communication photography, and color color, and photography motion pictures, and color motion pictures color, and motion pictures war war, and color World War II, and color color, and war color, and World War II electricity electricity, and color color, and electricity color, and Maud Adams color vs. black and white media effects color, and media effects media effects, and color color, and magazines magazines, and color color, and Diorama advertising magazines nationalism photography theater World War II Abbott, Arthur G. The Color of Life 37950 Abbott, Arthur V. Electricity Up to Date: From the Centennial to the White City Frank Leslie's Popular Monthly
Nov. 1893
36 5 2-16 This article discusses the spread and impact of electricity on the United States in the seventeen years between the Centennial in 1876 and the Chicago World's Fair in 1893. "At the Centennial, with the exception of the telegraph and a little electro-plating, there was absolutely no commercial application of electricity. Now scarcely a single detail of daily life that is not permeated by and dependent upon it." (3) At the 1893 exhibit, the steam engine was "banished" and the electric motor reigned. (3) The spread of telephones was evident in 1893. There were 800 miles of underground telephone wires connecting the exhibits at the World's Fair alone.(3) In the United States, in early 1983 there were more than "400,000 miles of telephone lines ... in active service, exclusive of 100,000 miles of underground cable line." (8) These lines served "200,000 subscribers, from 1,351 exchanges, operating 552,000 instruments, requiring the attention of 10,000 employees, and involving the investment of over $165,000,000 of capital. Upon these lines over 600,000,000 conversations annually take place." (8) The article discusses the switchboard and its use at the World Fair and more broadly in the economy. (9, 11)
The storage battery "was not only unknown, but was unimagined" in 1876, and only a few dreams of an electric railway. The article says that in the United States in 1893 there were "2,500 isolated plants ... devoted to the business of illumination. These figures take no account of the foreign plants, for which actual statistics are not obtainable. A conservative estimate, however, would place the total electrical illuminating power of the world at the present time at about one hundred and fifty million candle power." (5)
The article notes the progress of wireless communication and reports that "already intelligible messages have been transmitted across more than five miles of space with out the aid of any wire, or other conducting circuit, simply by means of electro-magnetic waves impelled through the luminous ether. Thus, compared to the possibilities so opened to the imagination, the present method of telephonic communication sinks into insignificance." (13)
The author comments on the progress of converting heat energy directly into electricity. (13-14)
Abbott believed that "The greatest scientific attainment of this century was the discovery of the correlation of energy, which informs us that all the forms of force with which we are acquainted, such as light, heat, sound, electricity, chemical action, the attraction of gravitation, and mechanical motion, are mut-15/16 ually interconvertible, so that any manifestation of force can be transformed into any other form; and could the inevitable friction wastes of mechanics be avoided the change would be accomplished absolutely without loss...." (15-16) The author asks if the next seventeen years (1893-1910) will see progress on such a great scale as the last seventeen. (12) This article is illustrated with several pictures from the Chicago World's Fair. wireless communication electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time electricity, and time electricity, and space electricity, and travel lighting lighting, and electricity electricity, and lighting telephones telephones, and electricity electricity, and telephones General Electric Company Westinghouse Corporation telephones, and number of calls wireless radio radio, and wireless electricity, and wireless wireless, and electricity home and new media electricity, and home home, and electricity electricity, and storage batteries home Abbott, Arthur V. Electricity Up to Date: From the Centennial to the White City 33320 Abbott, Karen Sin in the Second City: Madams, Ministers, Playboys, and the Battle for America’s Soul New York Random House
2008
At the turn of the century, Chicago was awash in vice, with its abundance of shady politicians, houses of ill fame, and organized crime. Two women were at the center of this depravity: the Everleigh sisters, proprietors of one of the most famous brothels in the world. Sin in the Second City chronicles their rise and fall, a story that would seem to occupy a narrow slice of history, but was tied in with larger issues like the white slave trade and evangelical religion. Abbott, a journalist who’s written for Philadelphia magazine and Salon.com, has meticulously researched Sin, relying on numerous sources such as magazines that wrote about the scourge of prostitution (The Philanthropist), newspapers (Chicago Tribune and Chicago Daily Socialist), the three other books that have been written on the Everleigh sisters, letters the sisters wrote to Irving Wallace, interviews with the sisters’ great niece, and governmental reports on the vice trade.
Her extensive use of a variety of sources, and the way she uses weaves them together, makes the book read like a novel. Sin in the Second City is a valuable work of sex-related history. Abbott says that Sin “is also about identity, both personal and collective, and the struggle inherent in deciding how much of the old should accompany us as we rush, headlong, into the new (p.xii).” Not all early twentieth-century madams were worth writing books about. What makes the Everleigh sisters worthy is the fact that their mission was to elevate the prostitution industry. The Everleigh club had doctors on staff to give regular check ups to the women, they provided free meals, paid over $100 a week, and gave the workers an education in classical literature (Balzac and Longfellow were emphasized). In contrast, other brothels paid their workers $35, didn’t have doctors on staff and let syphilitic women (with visible symptoms) continue to work, and allowed drugs their workers to do drugs and steal from the clients.
Although prostitution was technically illegal in Chicago, it was tolerated by the city because it was so profitable: brothel owners paid the city officials, like Bathhouse John Coughlin graft payments. Everything in the prostitution world went along swimmingly until vice crusaders decided to target the industry. Standing outside of the Evereligh Club, Ernest Bell would preach sermons on the wages of sin and the debilitating effects of syphilis. Ironically, his preaching increased business for the club. When prosecutor Clifford Roe joined in the demonizing of the prostitution trade by accusing brothel owners of drugging girls, raping them, and forcing them into the industry -- a practice referred to as the white slave tradet -- the fight was on, and the end of the freewheeling Everleigh club was on the horizon.
The Everleigh Club became a symbol of the Levee district (vice district) because it was the most visible of the brothels, and the sisters dared to advice, producing a glossy book showing all of the ostentatious decorations of the club, but none of the girls. Prince Henry of Prussia visited the brothel, as well as boxer Jack Johnson, and Marshall Field Jr. (who was a regular and may or may not have died at the club). And when the White Slave Traffic Act, aka the Mann act, was passed in 1910, and the Bureau of Investigation was created to enforce it, the club was doomed. Even though the Everleigh sisters were far from white slavers (so many girls wanted to work there that they had a waiting list), they were shut down in 1911, never to re-open again. And, what makes this story interesting from a mass communication perspective is that the mayor claimed that the reason that they were targeted “was the Everleigh club’s ‘infamy, the audacious advertising of (p.248) it’; ‘it was as well known as Chicago itself and therefore a disgrace to the city ." (p.249).
-Hallie Lieberman Chicago, IL censorship and ratings censorship, and Chicago Chicago, and movie censorship motion pictures motion pictures, and censorship censorship, and motion pictures theaters, and motion pictures theaters theaters, and audiences children and media children, and motion pictures motion pictures, and children theaters, and children children, and theaters values values, and motion pictures motion pictures, and values race, and motion pictures motion pictures, and race motion pictures, and Chicago motion pictures, and Chicago censorship prostitution prostitution, and Chicago Chicago, and prostitution Lieberman, Hallie censorship Chicago, and movie censorship children race Abbott, Karen Sin in the Second City: Madams, Ministers, Playboys, and the Battle for America’s Soul 10 Abel, Richard Americanizing the Movies and 'Movie-Mad' Audiences, 1910-1914 Berkeley University of California Press
2006
Among the topics Abel examines is the rise of the movie star in Chapter 6, "'The Power of Personality in Pictures': Movie Stars and 'Matinee Girls'" (231-56). At the end of this chapter, Abel reprints newspaper articles on this topic including “Personality a Force in Pictures,’ from New York Dramatic Mirror, Jan. 15, 1913, p. 44 (see Abel, pp. 252-54). It says in part: “The secret of intimate personal expression through the medium of the camera and the screen is elusive. A pleasing face is not in itself sufficient, nor can an individuality be made distinct by means of conventional gestures and facial expressions. The players selected to appear on this page have distinctive personalities that they have learned to express in distinctive ways.” (quotation from newspaper article, in Abel, p. 252)
“…Fleeting facial expressions that might indicate little at first, gain in meaning as features become familiar, until we can guess at thoughts without the need of words to express them.” (quotation from newspaper article, in Abel, p. 253)
“…It seems that many people are more concerned about the figures they see on the screen than the connected series of incidents they are engaged in relating. If some of these enthusiasts stopped to ask themselves whether they were more entertained by a good photoplay acted by strangers or a mediocre one in which some favorite appeared, there is a good chance that the verdict would be in favor of the popular player. That may not be an altogether healthy condition, but it is one that exists and must be recognized by the men who produce pictures.” (quotation from newspaper article, in Abel, p. 254)
In “Entr’acte 5: Trash Twins: Newspapers and Moving Pictures” (215-27), Able attempt "to sketch the more prominent patterns in the cinema's developing institutional relationship with newspapers... in selected cities from the Northeast to the upper Midwest...." (216) This relationship began to develop as early as 1911. Able writes: "As late as October 1912, the New York Dramatic Mirror claimed that the '"movies" continue to flourish' without 'the benignant approval' of the daily newspapers, that the 'pictures are left very much to speak for themselves.' Yet, by the spring of 1913, trade journals as different as the World and Motography acknowledged that local newspapers were now promoting photoplays or movies (the distinction could be significant) by running special pages and/or columns on a regular basis. Yet, if a mutually profitable relationship was well established between moving pictures and newspaper by 1913-14, signs of its emergence -- however tentative, irregular, and uneven, like those for feature films -- are quite visible as early as 1911, despite the World's complaint, and even before." (215)
This book, Abel says, can be considered a companion to his earlier book, The Red Rooster Scare: Making Cinema American, 1900-1910 (1999). nationalism journalism history fame celebrity motion pictures, and Americanism actors acting magazines photography motion pictures motion pictures, and nationalism nationalism, and motion pictures motion pictures, foreign nationalism and communication motion pictures, and Americanization motion pictures, and westerns history and new media motion pictures, and history history, and motion pictures motion pictures, and Civil War motion pictures, and American Revolution France Pathé France, and motion pictures motion pictures, and France modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality motion pictures, and acting acting, and facial expression motion pictures, and not facing camera acting, and not facing camera acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines fan magazines magazines, fan Abel, Richard Americanizing the Movies and 'Movie-Mad' Audiences, 1910-1914 6090 Abel, Richard The Ciné Goes to Town: French Cinema, 1896-1914 Berkeley University of California Press
1994
This substantial, well-researched book, should be read in conjunction with Abel’s earlier work, French Cinema: The First Wave, 1915-1929 (1984). In this study Abel examines whether a national cinema existed in France. He writes: “Despite a certain ‘international’ character to early cinema, such an assumption is not without justification. First of all, the French cinema can be situated economically within the historical context of imperialism -- in the sense used by Eric Hobsbawm that the world economy of capitalism had become an aggregate of rival national economies engaged in colonial conquest -- which defined Europe as well as the United States at the turn of the century. The space of colonial expansion, along with that constructed by the more direct trading rivalry between national economies, provided a field of exploitation for Pathé - Frères when it became the first film company to move into mass production in 1904-1905. Second, the French cinema can be situated within the related historical context of nationalism, specifically in terms of the institutions and practices that defined the French Third Republic as a distinct nation- state. Although the new secular system of education served as the principal bonding agent of late nineteenth-century French society, a loose network of new mass culture practices proved increasingly crucial during the period. Within this network, the cinema quickly assumed a significant role, especially through the appropriation of a historically specific cultural tradition, so that certain film genres gained a privileged importance -- the trick film and the féerie, the comic series, the biblical film, the historical film, and the grand guignol version of melodrama. Finally, the French cinema can be situated historically according to its definition under French law, for the courts consistently classed the cinema as a spetacle de curiosité, subjecting it to the control and censorship of local officials. In 1906, a state decision to end all censorship restrictions against theater provoked efforts by the industry to upgrade the cinema’s status. The consequences of this move to align the cinema with theater were profound -- theater analogy, at the level of both commercial enterprise and critical discourse, became more deeply ingrained in France than anywhere else. That these economic, cultural, and legal practices gave the French cinema a high degree of historical specificity makes all the more valid an interrogation of the early French cinema as a more or less distinct national cinema.” nationalism corporations corporations photography popular culture cultural imperialism law censorship and ratings capitalism non-USA motion pictures imperialism motion pictures nationalism and communication cultural imperialism, and France imperialism, and France motion pictures, and France France, and motion pictures censorship, and French motion pictures motion pictures, and French censorship motion pictures, and theaters photography and visual communication photography and visual communication censorship censorship, and motion pictures cultural imperialism culture popular culture advertising cartoons comic books Disney magazines music radio television France capitalism, and motion pictures motion pictures, and capitalism cultural imperialism law, and communication communication, and law advertising and public relations Abel, Richard The Ciné Goes to Town: French Cinema, 1896-1914 14940 Abel, Richard The Red Rooster Scare: Making Cinema American, 1900-1910 Berkeley University of California Press
1999
This book argues, in Abel's words, "that the Americanization process -- specifically, the concerns about constructing a distinctive American national identity -- continued to frame early cinema's institutionalization as a popular mass entertainment, particularly if certain categories of spectators formed its core audience -- namely, recent working-class immigrants, women (especially young working women), and children. It also argues that early cinema, as a mass entertainment, has to be conceived in terms that reach beyond the production of film texts and their promotion in the trade press to focus on distribution and exhibition practices, as well as regional or even local discursive traces of their promotion and reception." (quoted from Introduction, Abel, Americanizing the Movies and 'Movie-Mad' Audiences, 1910-1914 [2006], p. 3).
Abel devotes a section to “The Color of Nitrate (pp. 40-47) and discusses Pathé “Heavenly Billboards.” Abel also later observes that “In the 1890s, chromolithography rapidly gave way to a new technology of halftone photoengraving, a process that allowed photographs to be reproduced on cheap paper (usually in black-and-white). Their use transformed newspaper and magazine journalism (a good example was The World’s Work), where the photo now served to guarantee accuracy and authenticity.” (p. 125) (Here Able cites Neil Harris’ Cultural Excursions and Richard Slotkin’s Gunfighter Nation.)
As American film producers challenged the dominance of French-made films (around 1909-10), colored films became associated with “foreignness” (157). “That Pathé released A Western Hero in stencil color reveals its 'foreignness’ in another way. 157/158 Here, the trade press was unanimous: stencil color was perfectly appropriate for certain films d’art and ‘exotic’ scenics, but not for American subjects, especially westerns For the latter, the realist aesthetic promoted by the Mirror and the World dictated a concern for the ‘orthochromatic,’ the accuracy of tonal values in ‘the black and white picture,’ which by 1909-1910, so went the claim, the public preferred, from whatever school it came. The World singled out Biograph in particular as a model for other manufacturers to imitate, for its films’ ‘fine rich deposit in the shadows and clear, delicate lights.’ The chiaroscuro of black and white could be enhanced by tinting and/or toning effects, but, as Woods argued, those had to serve the purpose of ‘approximating reality and at the same time make the story clear.’ If color were to be invoked in the American cinema, it would be yoked to an aesthetic of ‘impressive realism’ (to cite a Biograph ad), one imbued with a distinctive, historically specific American ideology.” nationalism journalism history motion pictures, and Americanization magazines, and photography magazines photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication non-USA non-USA, and motion pictures motion pictures, and non-USA France France, and motion pictures motion pictures Pathé Pathé, and motion pictures motion pictures, and Pathé nationalism and communication motion pictures, and nationalism nationalism, and motion pictures Americanism motion pictures, and Americanism Americanism, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism motion pictures, and westerns war motion pictures, and war war, and motion pictures history and new media motion pictures, and history history, and motion pictures materials modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures materials, and nitrate nitrate, and motion pictures motion pictures, and nitrate photography, and magazines magazines, and photography news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines fan magazines magazines, fan actors acting motion pictures, and Americanization women women, and motion pictures motion pictures, and women Americanization, and motion pictures Americanization, and women women, and Americanization children and media children, and motion pictures motion pictures, and children Americanization, and children children, and Americanization advertising Americanization children Abel, Richard The Red Rooster Scare: Making Cinema American, 1900-1910 2750 Abelson, Philip H. and Allen L. Hammond The Electronics Revolution Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
16-28 This piece, written by the editor and staff of Science, seeks to set the microelectronic revolution into historical perspective. computers communication revolution computers and the Internet electronic media communication revolution electronics revolution, and history of microelectronics Abelson, Philip H. and Allen L. Hammond The Electronics Revolution 10290 Abler, Ronald The Telephone and the Evolution of the American Metropolitan System Ithiel de Sola Pool, ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
318-41 The author examines the relation between telephones and modern cities. He notes that the dreams of utopians in the late 19th century have been realized in that the "telephone has conquered distance as no other technology has." utopianism geography telephones urban studies space (spatial) telephones, and distance telephones, and urban life utopia, and telephones Abler, Ronald The Telephone and the Evolution of the American Metropolitan System 29550 Abrahamson, David Magazine-Made America: The Cultural Transformation of the Postwar Periodical Cresskill, NJ Hampton Press, Inc.
1996
In this 101-page book, the author draws on such authors as Russel Nye and John Pauly to note that "all communication media have an important societal dimension, both reflecting and shaping the social actualities of their time." Abrahamson argues that "the emergence of the special-interest magazines in the 1960s was both a product of and contributor to major sociocultural and economic changes in postwar America." (p. 3) This work examines magazine readership and it looks at publications that specialized in leisure activities such as boating, automobiles, flying, and photography. Eleven tables (73-80) give data on magazine circulation, readership, publishing, and other economic statistics. books, periodicals, newspapers magazines print culture values, and magazines values advertising and public relations magazines, and advertising advertising, and magazines magazines, and leisure leisure, and magazines reading magazines, and readers advertising leisure print Abrahamson, David Magazine-Made America: The Cultural Transformation of the Postwar Periodical 33530 Abrahamson, Eric John Hear Me Now: Competition, Regulation, and the Pace of Innovation in Mobile Telephony in the United States, 1945-1984 Johns Hopkins University
2003
Abstract from UMI ProQuest Digital Dissertations: "Policy analysts and economists have frequently criticized the Federal Communications Commission (FCC) for delaying the commercial launch of cellular communications in the United States. This study looks at the evolution of the wireless industry in the U.S. from the end of World War II to the commercial launch of cellular service in 1983. It focuses on three arenas -- technology, politics and the market. It argues that competitive forces unleashed by the federal government in 1946 shaped the path and pace of innovation and conditioned the coevolution of four core economic and political institutions: AT&T, Motorola, the association of Radio Common Carriers, and the FCC. corporations corporations Federal Communications Commission (FCC) telephones telephones, cellular AT&T FCC telephones,and FCC FCC, and telephones wireless communication telephones, wireless communication telephones, mobile telephones, regulation regulation Abrahamson, Eric John Hear Me Now: Competition, Regulation, and the Pace of Innovation in Mobile Telephony in the United States, 1945-1984 6470 Abramson, Albert The History of Television, 1880-1940 Jefferson, NC McFarland Press
1987
television Abramson, Albert The History of Television, 1880-1940 11400 Abramson, Jeffrey B.//F. Christopher Arterton //and Gary R. Orren The Electronic Commonwealth: The Impact of New Media Technologies on Democratic Politics New York Basic Books, Inc.
1988
; media effects See also: media convergence See also: mass media The authors discuss the political implications of new media technologies on democratic government. Their work appeared before the widespread use of the Internet. The new media they consider include computers, satellites, cable television, videocassette recorders, direct broadcast satellites, multipoint distribution service, satellite mater antennae television, pay television, VHF drop-in TV, low-power television, videotex, teletex, lasers, and optical fibers. The authors note that such media vastly expand the amount of data that can be exchanged, and make it possible to exchange that information with little regard to real space or time. Consumers have increased control over the message they receive. Senders of messages have greater control over the audiences they will reach. These new media decentralize the control of mass communication. They also bring new two-way communication or interactive possibilities to television. The authors are noncommittal as to whether these new media constitute a "communication revolution." Their more modest purpose is to convince readers that such new media warrant serious scholarly research. The authors reject both technological determinism and political determism.
"The democratic theory that lies behind this book can be described as a cross between the pluralist and communitarian views -- pluralism with a communitarian face," the authors write. They hope to explain how "we can seize the opportunity presented by the current changes in the media environment to reorient mass communications toward more robust democratic service...."
The eight chapters in this work are entitled: "The New Media and Democratic Values"; "What's New About the New Media?"; "Elections and the Media: Past, Present, and Future"; "Communications Technology and Governance"; "The New Media and Democratic Participation"; "Policy in a Comparative Perspective"; "Freedom of the Press and the New Media"; and "Toward an Electronic Commonwealth." computers video cassette recorders (VCRs) nationalism interactivity Federal Communications Commission (FCC) magnetic recording advertising, and public relations censorship and ratings propaganda public relations fiber optics journalism materials magnetic tape materials fiber optics regulation community democracy news and journalism values polling newspapers news media general studies television aeronautics and space communication satellites satellites, and television television, and satellites cable television, and cable cable television lasers optical fibers VCRs teletex democracy and media videotex direct mail computers and the Internet advertising, and new media values, and democracy nationalism and communication FCC electronic publishing interactive media narrowcasting media convergence books, periodicals, newspapers newspapers, and new media polling, and new media telegraph telephones advertising electronic media Abramson, Jeffrey B.//F. Christopher Arterton //and Gary R. Orren The Electronic Commonwealth: The Impact of New Media Technologies on Democratic Politics 480 Acland, Charles R. and William J. Buxton eds. Harold Innis in the New Century: Reflections and Refractions Montreal and Kingston McGill-Queen's University Press
1999
This collection of essays grew out of various centennial celebrations in 1994 of Harold Innis’s birth. The volume has twenty chapters (with twenty-three authors) arranged around three broad themes: “Reflections on Innis” (Part One), “Gaps and Silences” (Part Two); and “Innis and Cultural Theory” (Part Three). The work has an excellent Introduction by William J. Buxton and Charles R. Acland entitled “Harold Innis: A Genealogy of Contesting Portraits.” Buxton and Acland give an information of the scholarly literature on Innis’s life and work, and they also cogent summaries of each chapter.
Chapters in Part One examine Innis’s thinking and its context. Richard Noble writes on “Innis’s Conception of Freedom” within the Whig political tradition. Judith Stamp places Innis in the context of Canadian education and the Scottish Enlightenment. Michael Dorland looks at how Innis viewed the connection between religion and Canadian politics. James Carey explores the influence of the Chicago School on Innis. Irene M. Spry, a former Innis colleague, discusses his way of working and doing research. Cheryl Dahl and Liora Salter consider how Innis defined public intellectuals and the university’s role in the world. Donald Fisher deals with Innis’s relationship to academic communities and his part in the founding of the Canadian Social Science Research Council in 1941. In Chapter 8, Michèle Martin and Buxton contrast Innis’s ideas about relation between academics and moral and social life, and his worries that modern media were too “space-biased,” with the approach taken by his contemporary Victor Barbeau. Barbeau critical journalism could be a catalyst for progressive reform.
Chapter 9-12 consider “gaps and silences” in Innis’s work such as gender relations.
Most of the discussion of Innis and technology occurs in Part Three, “Innis and Cultural Theory.” Here there are eight chapters including Acland’s “Histories of Place and Power: Innis in Canadian Cultural Studies”; Andrew Wernick’s “No Future: Innis, Time Sense, and Postmodernity”; Jody Berland’s “Space at the Margins: Critical Theory and Colonial Space after Innis,” Kevin Dowler’s “Early Innis and the Post-Massey Era in Canadian Culture”; and Kim Sawchuk’s “An Index of Power: Innis, Aesthetics, and Technology.”
This book has a thorough bibliography on work relating to Innis. Chicago, IL nationalism imperialism women, and new media preservation postmodernism newspapers modernity modernism news and journalism history, and new media cultural imperialism community democracy news and journalism non-USA Innis, Harold bibliographies bibliographies, and Harold Innis women postmodernism, and Harold Innis modernism, and Harold Innis Barbeau, Victor, and Harold Innis Canada Carey, James Chicago School, and Harold Innis Innis, Harold, and Chicago School Innis, Harold, and James Carey Innis, Harold, and critics democracy and media political economy political economy, and Harold Innis cultural imperialism, and Harold Innis journalism, and Harold Innis nationalism, and Harold Innis nationalism and communication history, and Harold Innis Innis, Harold, and history Innis, Harold, and Marshall McLuhan monopoly, and Harold Innis newspapers, and Harold Innis Innis, Harold, and oral tradition oral tradition, and Harold Innis public intellectuals, and Harold Innis journalism history Chicago School news oral communication oral culture Acland, Charles R. and William J. Buxton eds. Harold Innis in the New Century: Reflections and Refractions 42200 Adams, Henry The Education of Henry Adams: An Autobiography Boston Houghton Mifflin Company
1918
Henry Adams wrote this autobiography in the third person. Adams believed that the coming of electrical energy, the dynamo, represented a radical break in human history, and that one had to go back to the year 310, “when Constantine set up the Cross,” (383) to find a similar historical rupture. There was a continuity in Christianity’s power, which survived other challenges including those from Galileo and Bacon, until 1900. Then, Adams said, “continuity snapped.” (457) The child born in 1900 was “born into a new world….” (457) The dynamos promised “infinite costless energy” and “they gave to history a new phase.” (342)
From Chapter XXII-- “CHICAGO (1893)” starting on page 341: Jostled by these hopes and doubts, one turned to the exhibits for help, and found it. The industrial schools tried to teach so much and so quickly that the instruction ran to waste. Some millions of other people felt the same helplessness, but few of them were seeking education, and to them helplessness seemed natural and normal, for they had grown up in the habit of thinking a steam engine or a dynamo as natural as the sun, and expected to understand one as little as the other. For the historian alone the Exposition made a serious effort. Historical exhibits were common, but they never went far enough; none were thoroughly worked out. One of the best was that of the Cunard steamers, but still a student hungry for results found himself obliged to waste a pencil and several sheets of paper trying to calculate exactly when, according to the given increase of power, tonnage, and speed, the growth of the ocean steamer would reach its limits. His figures brought him, he thought, to the year 1927; another generation to spare before force, space, and time should meet. The ocean steamer ran the surest line of triangulation into the future, because it was the 341/342 nearest of man's products to a unity; railroads taught less because they seemed already finished except for mere increase in number; explosives taught most, but needed a tribe of chemists, physicists, and mathematicians to explain; the dynamo taught least because it had barely reached infancy, and, if its progress was to be constant at the rate of the last ten years, it would result in infinite costless energy within a generation. One lingered long among the dynamos, for they were new, and they gave to history a new phase. Men of science could never understand the ignorance and naiveté of the historian, who, when he came suddenly on a new power, asked naturally what it was; did it pull or did it push? Was it a screw or thrust? Did it flow or vibrate? Was it a wire or a mathematical line? And a score of such questions to which he expected answers and was astonished to get none.
From CHAPTER XXV-- “THE DYNAMO AND THE VIRGIN (1900)”: Starting on page 380: “Then he showed his scholar the great hall of dynamos, and explained how little he knew about electricity or force of any kind, even of his own special sun, which spouted heat in inconceivable volume, but which, as far as he knew, might spout less or more, at any time, for all the certainty he felt in it. To him, the dynamo itself was but an ingenious channel for conveying somewhere the heat latent in a few tons of poor coal hidden in a dirty engine-house carefully kept out of sight; but to Adams the dynamo became a symbol of infinity. As he grew accustomed to the great gallery of machines, he began to feel the forty-foot dynamos as a moral force, much as the early Christians felt the Cross. The planet itself seemed less impressive, in its old-fashioned, deliberate, annual or daily revolution, than this huge wheel, revolving within arm's length at some vertiginous speed, and barely murmuring -- scarcely humming an audible warning to stand a hair's-breadth further for respect of power -- while it would not wake the baby lying close against its frame. Before the end, one began to pray to it; inherited instinct taught the natural expression of man before silent and infinite force. Among the thousand symbols of ultimate energy the dynamo was not so human as some, but it was the most expressive.
“Yet the dynamo, next to the steam-engine, was the most familiar of exhibits. For Adams's objects its value lay chiefly in its 380/381 occult mechanism. Between the dynamo in the gallery of machines and the engine-house outside, the break of continuity amounted to abysmal fracture for a historian's objects. No more relation could he discover between the steam and the electric current than between the Cross and the cathedral. The forces were interchangeable if not reversible, but he could see only an absolute fiat in electricity as in faith. Langley could not help him. Indeed, Langley seemed to be worried by the same trouble, for he constantly repeated that the new forces were anarchical, and especially that he was not responsible for the new rays, that were little short of parricidal in their wicked spirit towards science. His own rays, with which he had doubled the solar spectrum, were altogether harmless and beneficent; but Radium denied its God -- or, what was to Langley the same thing, denied the truths of his Science. The force was wholly new.
“A historian who asked only to learn enough to be as futile as Langley or Kelvin, made rapid progress under this teaching, and mixed himself up in the tangle of ideas until he achieved a sort of Paradise of ignorance vastly consoling to his fatigued senses. He wrapped himself in vibrations and rays which were new, and he would have hugged Marconi and Branly had he met them, as he hugged the dynamo; while he lost his arithmetic in trying to figure out the equation between the discoveries and the economies of force. The economies, like the discoveries, were absolute, supersensual, occult; incapable of expression in horse-power. What mathematical equivalent could he suggest as the value of a Branly coherer? Frozen air, or the electric furnace, had some scale of measurement, no doubt, if somebody could invent a thermometer adequate to the purpose; but X-rays had played no part whatever in man's consciousness, and the atom itself had figured only as a fiction of thought. In these seven years man had translated himself into a new universe which had no common scale of measurement with the old. He had entered a supersensual world, in which he could measure nothing except by chance collisions of movements 381/382 imperceptible to his senses, perhaps even imperceptible to his instruments, but perceptible to each other, and so to some known ray at the end of the scale. Langley seemed prepared for anything, even for an indeterminable number of universes interfused -- physics stark mad in metaphysics.
“Historians undertake to arrange sequences, -- called stories, or histories -- assuming in silence a relation of cause and effect These assumptions, hidden in the depths of dusty libraries, have been astounding, but commonly unconscious and childlike; so much so, that if any captious critic were to drag them to light, historians would probably reply, with one voice, that they had never supposed themselves required to know what they were talking about. Adams, for one, had toiled in vain to find out what he meant. He had even published a dozen volumes of American history for no other purpose than to satisfy himself whether, by severest process of stating, with the least possible comment, such facts as seemed sure, in such order as seemed rigorously consequent, it could fix for a familiar moment a necessary sequence of human movement. The result had satisfied him as little as at Harvard College. Where he saw sequence, other men saw something quite different, and no one saw the same unit of measure. He cared little about his experiments and less about his statesmen, who seemed to him quite as ignorant as himself and, as a rule, no more honest; but he insisted on a relation of sequence. and if he could not reach it by one method, he would try as many methods as science knew. Satisfied that the sequence of men led to nothing and that the sequence of their society could lead no further, while the mere sequence of time was artificial, and the sequence of thought was chaos, he turned at last to the sequence of force; and thus it happened that, after ten years' pursuit, he found himself lying in the Gallery of Machines at the Great Exposition of 1900, his historical neck broken by the sudden irruption of forces totally new.
“Since no one else showed much concern, an elderly person without other cares had no need to betray alarm. The year 1900 was 382/383 not the first to upset schoolmasters. Copernicus and Galileo had broken many professorial necks about 1600; Columbus had stood the world on its head towards 1500; but the nearest approach to the revolution of 1900 was that of 310, when Constantine set up the Cross. The rays that Langley disowned, as well as those which he fathered, were occult, supersensual, irrational; they were a revelation of mysterious energy like that of the Cross; they were what, in terms of medieval science, were called immediate modes of the divine substance. 383/457
From Chapter XXXI -- “THE GRAMMAR OF SCIENCE (1903)” -- from page 457: “… The motion of thought had the same value as the motion of a cannonball seen approaching the observer on a direct line through the air. One could watch its curve for five thousand years. Its first violent acceleration in historical times had ended in the catastrophe of 310. The next swerve of direction occurred towards 1500. Galileo and Bacon gave a still newer curve to it, which altered its values; but all these changes had never altered the continuity. Only in 1900, the continuity snapped.
“Vaguely conscious of the cataclysm, the world sometimes dated it from 1893, by the Roentgen rays, or from 1898, by the Curie’s radium; but in 1904, Arthur Balfour announced on the part of British science that the human race without exception had lived and died in a world of illusion until the last year of the century. The date was convenient, and convenience was truth.
“The child born in 1900 would, then, be born into a new world which would not be a unity but a multiple. Adams tried to imagine it, and an education that would fit it. He found himself in a land where no one had ever penetrated before; where order was an accidental relation obnoxious; artificial compulsion imposed on motion; against which every free energy of the uni- 457/458 verse revolted...." electricity history and new media electricity, and Henry Adams electricity, and break with history electricity, and education education education, and electricity values values, and electricity electricity, and values democracy democracy, and electricity electricity, and democracy electricity, and history history, and electricity history Adams, Henry The Education of Henry Adams: An Autobiography 380 Adams, I. Howe Photography, or the Manchausen of the Arts Outing, an Illustrated Magazine of Recreation
Sept. 1890
16 6 476-80 This article offers a sour appraisal of photography. "One conscienceless epigrammatist somewhere has said that 'photography is the George Washington of the arts.' Washington was never so slandered before, for if there be anything that shuns things as they are and clings to things as they are not, anything which distrots the real and lives in a world of its own, it is the art of photography. It drags down what we call beautiful; it often elevates the ugly; the weather-beaten hovel is as likely to grow romantic under its deceptive touch as the stately mansion is to depreciate in value; whilte the faces of those we love or admire are, in the hands of the unskillful, set down to posterity with more disfigurement than ingeious Indian artists could devise.
"A human being, in fact, is neve more unreal than when being photographed...." (471) Later, the author says that "the camera makes friends; true, but it imposes on good nature to comply with the numerous requests a village community will make, sometimes with provoking interation, especially at a time -- which every amateur photographer stumbles over occsionally -- when he has a run of bad pictures in succession, an event which iss sure to come at some inopportune time...." (478) photography and visual communication photography photography, and art critics Adams, I. Howe Photography, or the Manchausen of the Arts 38030 Adams, W. I. Lincoln Flash Light Photography: Concluded Outing, an Illustrated Monthly Magazine of Recreation
Jan. 1891
17 4 259-64 This article, illustrated with a number of pictures, discusses the progress in photogaphing out-of-doors and at night using magnesium powder. "In 'flash' light photography the most remarkable achievements are, undoubtedly, those which have been accomplished out of doors and at night.
"Here a larger amount of magnesium is required, and, of course, since so much of the light is lost in the surrounding darkness, powerful reflectors must be used." (259) Among the images is the Statue of Liberty at night. (259) photography and visual communication photography modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel lighting photography, and lighting lighting, and photography photography, and magnesium magnesium, and photography materials materials, and magnesium Adams, W. I. Lincoln Flash Light Photography: Concluded 39690 Adams, W. I. Lincoln Photography and Athletics: First Paper Outing, an Illustrated Monthly Magazine of Recreation
Feb. 1892
19 5 404-08 This article, published in early 1892, says that there has been rapid improvements in photography over the past two years, so "that it is now possible for the instantaneous photographer to accomplish results which were unattainable even two years ago." (404) The article is devoted to describing the work of John C. Hemment, a former athlete (skater) who uses instantaneous photography to show athletic events. Races, for example, that were once considered dead heats to the naked eye are shown to have clear winners and losers when instantaneous photography is used at the finish line. Hemment used an "ingenious hand box" camera to replace reliance on the tripod. (406) The article is illustrated with six photographs by Hemment of athletes in action. personality fame fame photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, and athletes cameras, and sports athletes, and cameras sports, and cameras athletes, and celebrity culture celebrity culture, and athletes athletes, and fame fame, and athletes cameras, instantaneous photography, instantaneous athletes, and instantaneous photography celebrity culture, and instantaneous photography cameras, portable cameras, hand held photography, and hand-held cameras celebrity photography Adams, W. I. Lincoln Photography and Athletics: First Paper 39700 Adams, W. I. Lincoln Photography and Athletics: Second Paper Outing, an Illustrated Magazine of Recreation
March 1892
19 6 445-49 This article is a follow-up on an earlier article that appeared in this magazine in Feb. 1892. In this piece, Adams describes the process photographer John C. Hemment used to take instantaneous pictures of athletes in action. Hemment discusses how he develops his pictures. Hemment used a hand camera which produced photographs that technically "were not only as perfect as could be if a prolonged exposure were given in every case," by the pictures were "also caught with such a precision that just the particular attitude of the subject or subjects which were desired is depicted, and that particular phase of the sport or feat is brought out which is most characteristic or pictorial." (447) The article notes that even pictures taken in weak light turn out well. Hemment "uses the quickest working exposing shutter, the most rapid lens and the most sensitive dry plate," Adams reports. (449) To those who said that Hemment could not develop his photos fast enough, he says that he "devoted three hours in bringing up only four plates of rapid exposure." (449) He predicts that in the future all important racing events will have their on official photographer. The article says that in March, 1892, most large newspapers already have their own "regular staff photographer" and that "many papers have several photographers connected with them, and some have extensive photographic establishments where the work of the photographer can be finished and prepared for the press. A very large number have their regular 'photographic' editor, in addition to the 'sporting' editor, 'exchange' editor, etc." (449)
Adams concludes by saying: "The instantaneous photographer is also a familiar figure now on the occasion of any athletic performance of importance. His value as an impartial judge is being more widely recognized every day." (449)
The article is illustrated with eight photographs of athletic events. personality fame fame photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, and athletes cameras, and sports athletes, and cameras sports, and cameras athletes, and celebrity culture celebrity culture, and athletes athletes, and fame fame, and athletes cameras, instantaneous photography, instantaneous athletes, and instantaneous photography celebrity culture, and instantaneous photography cameras, portable cameras, hand held photography, and hand-held cameras photography, and speed of development cameras, and lens photography, and dry plate newspapers, and athletes newspapers, and photography photography, and newspapers athletes, and newspapers news and journalism celebrity photography Adams, W. I. Lincoln Photography and Athletics: Second Paper 12670 Addams, Jane Spirit of Youth and the City Streets New York Macmillan Company
1912
Addams comments on the negative impact that movies and movie theaters have on urban youth. She talks about the moral hazards of commercialized liesure, and likens the movie theater to dance halls and pool rooms. audiences theaters religion values morality censorship and ratings children motion pictures and popular culture motion pictures, and theaters theaters, and motion pictures children, and motion pictures children, and media motion pictures, and children motion pictures, and reform critics critics, and morality morality, and critics motion pictures, and morality morality, and motion pictures motion pictures Addams, Jane Spirit of Youth and the City Streets 16360 Adler, Mortimer ["Freedom of the Films"] This is a draft of a manuscript that Mortimer Adler prepared for Will H. Hays justifying protecting of movies as a form of free speech. Hays was to deliver it to the Senate committee investigating Hollywood and warmongering in September, 1941, but Hays apparently did not get the chance to give it. A copy of this draft is located at [1942?], Box 60, Will H. Hays Papers, Indiana State Library, Indianapolis, IN; and in Boxes 69-70, Mortimer J. Adler Papers, Regenstein Library, University of Chicago, Chicago, IL. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) social science research archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA critics freedom archives Adler, Mortimer motion pictures and popular culture motion pictures motion pictures, and social science social science research, and critics critics, and social science motion pictures, and freedom freedom, and motion pictures motion pictures, and defense of Hays, Will H., and Mortimer Adler Adler, Mortimer, and Will Hays motion pictures, and 1941 Senate hearing MPAA, and 1941 Senate hearings Commission on Freedom of the Press Hutchins Commission Adler, Mortimer, and Freedom of the Films Freedom of the Films, and Mortimer Adler Hays, Will H. media effects Adler, Mortimer ["Freedom of the Films"] 13700 Adler, Mortimer J. Art and Prudence: A Study in Practical Philosophy New York Longmans, Green and Co.
1937
Part of this work provides a scathing critique of the Payne Fund Studies and social science research. Part of it offers a justification of motion pictures as an art form. Will Hays considered this work a strong intellectual defense of motion pictures, one that could be used against the industry's critics. Adler was on Hays' payroll for a time, writing his annual reports. It is unclear if Adler was being paid by Hays at the time this book was written. Motion Picture Association of America (MPAA) self-regulation Production Code PCA Payne Fund Studies Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA MPPDA motion pictures freedom Payne Fund Studies, and critics motion pictures, and social science motion pictures, and defense of motion pictures, and freedom freedom, and motion pictures MPPDA, and Mortimer Adler Adler, Mortimer, and MPPDA Dale, Edgar, and critics Adler, Mortimer Production Code (motion pictures) Dale, Edgar Adler, Mortimer J. Art and Prudence: A Study in Practical Philosophy 13690 Adler, Mortimer J. Mortimer J. Adler Papers Joseph Regenstein Library, University Chicago, Chicago, IL This is a rich collection pertaining to Adler's life and career. There is a good deal in these papers revealing Adler's association with Will H. Hays and the motion picture industry. Hays liked Adler and thought his work gave a strong intellectual justification for motion pictures, one that could be used against the industry's critics. Adler was on Hays' payroll for a time, drafting the MPPDA president's annual reports. Illinois -- Chicago -- University of Chicago -- Joseph Regenstein Library Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) social science research archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA critics freedom archives Adler, Mortimer motion pictures and popular culture motion pictures motion pictures, and social science social science research, and critics critics, and social science motion pictures, and freedom freedom, and motion pictures motion pictures, and defense of Hays, Will H., and Mortimer Adler Adler, Mortimer, and Will Hays motion pictures, and 1941 Senate hearings MPAA, and 1941 Senate hearing Commission on Freedom of the Press Hutchins Commission Adler, Mortimer, and Freedom of the Films Freedom of the Films, and Mortimer Adler Freedom of the Press, and Mortimer Adler Adler, Mortimer, and Freedom of the Press Hays, Will H. media effects Adler, Mortimer Adler, Mortimer J. Mortimer J. Adler Papers 13290 Adler, Mortimer J. Philosopher At Large: An Intellectual Autobiography New York Macmillan Publishing Co., Inc.
1977
Adler acknolwedges here that during the late 1930s and early 1940, he was on the payroll of the Hays Office (MPPDA). At the time, he wrote some of Will Hays' speeches and reports. Adler provided a defense of movies as an art form in Art and Prudence. Motion Picture Association of America (MPAA) self-regulation Production Code PCA Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA MPPDA memoirs autobiography motion pictures and popular culture motion pictures motion pictures, and Mortimer Adler motion pictures, defense of motion pictures, and Will Hays Adler, Mortimer, and motion pictures Adler, Mortimer, and Will Hays MPPDA, and Mortimer Adler Adler, Mortimer Production Code (motion pictures) Adler, Mortimer J. Philosopher At Large: An Intellectual Autobiography 2720 Agar, Jon ed. History of Computing: Approaches, New Directions History and Technology: An International Journal
1998
15 1-2 These issues are devoted to new approaches to writing the history of computing. Agar contributes an "Introduction: History of Computing: Approaches, New Directions and the Possibility of Informatic History," and an article, "Digital Patina: Texts, Spirit and the First Computer." Paul N. Edwards article is "Y2K: Millennial Reflections on Computers as Infrastructure." Other articles includ Robert W. Seidel, "'Crunching Numbers': Computers and Physical Research in the AEC [Atomic Energy Commission] Laboratories"; Geoffrey C. Bowker, "Archival Technology in the Historical Sciences: 1800-1997"; and Paul Atkinson, "Computer Memories: The History of Computer Form." computers preservation labor history, and new media computers office office, and new media office computers and the Internet infrastructure, and computers archives, and new technology computers, and history history, and computers archives, and computers Edwards, Paul Seidel, Robert archives, and new media archives, and infrastructure infrastructure, and archives infrastructure history archives Agar, Jon ed. History of Computing: Approaches, New Directions 8790 Agee, James and Walker Evans Let Us Now Praise Famous Men Boston Houghton Mifflin Company
1939
This work attempts to record the life of sharecroppers. “The immediate instruments are two," the authors write, "the motionless camera, and the printed word. The governing instrument—which is also one of the centers of the subject—is individual, anti-authoritative human consciousness....
“For in the immediate world, everything is to be discerned, for him who can discern it, and centrally and simply, without either dissection into science, or digestion into art, but with the whole of consciousness, seeking to perceive it as it stands: so that the aspect of a street in sunlight can roar in the heart of itself as a symphony, perhaps as no symphony can: and all of consciousness is shifted from the imagined, the revisive, to the effort to perceive simply the cruel radiance of what is.... That is why the camera seems to me, next to unassisted and weaponless consciousness, the central instrument of our time; and is why in turn I feel such rage at its misuse: which has spread so nearly universal a corruption of sight that I know of less than a dozen alive whose eyes I trust even as much as my own.” photography photography and visual communication photography and visual communication photography, and reform cameras Agee, James photography, and sharecropping Agee, James and Walker Evans Let Us Now Praise Famous Men 34170 Agre, Philip E. Growing a Democratic Culture: John Commons on the Wiring of Civil Society Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
61-67 Agre begins by asking if the Internet is a "friend of democracy?" (61) He goes on to write that "by providing a general mechanism for moving digital information and a general platform for constructing digital information utilities, the Internet provides new opportunities for the design of institutional mechanisms; it opens a vast new design space both for technology in the narrow sense and for the institutionalized social relationships within which the Internet is embedded. The Internet also necessitates a renegotiation of institutional rules in a more urgent way by destabilizing the balance of forces to which any successful negotiation gives form; by lending itself to the amplication of some forces and not others, the Internet undermines many of the institutionalized accommodations through which stakeholder groups with distinct interests and powers have gotten along." (63) Barber uses the work of John R. Commons as a context. Barber believes the "central question of democracy in its newly wired manifestation" is "what is the proper relationship between collective cognition among communities of shared interest and the actual formal mechanisms of the state?" (65)
The volume in which Agre's essay appears is part of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." (ix-x) computers computers democracy democracy, and new media Commons, John computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy Internet Agre, Philip E. Growing a Democratic Culture: John Commons on the Wiring of Civil Society 5800 Aitken, Hugh G. Allocating the Spectrum: The Origins of Radio Regulation Technology and Culture
Oct. 1994
35 686-716 law regulation radio radio regulation, and radio radio, and spectrum allocation radio, and regulation censorship and ratings Aitken, Hugh G. Allocating the Spectrum: The Origins of Radio Regulation 5270 Aitken, Hugh G. J. The Continuous Wave: Technology and American Radio, 1900-1932 Princeton Princeton University Press
1985
materials materials radio vacuum tubes wireless communication Marconi, Guglielmo radio, and vacuum tubes vacuum tubes, and radio Aitken, Hugh G. J. The Continuous Wave: Technology and American Radio, 1900-1932 5260 Aitken, Hugh G. J. Syntony and Spark: The Origins of Radio New York Wiley
1976
Aitken argues, among other things, that Marconi did not invent wireless telegraphy but rather that William Crookes had conceived Hertzian wave telegraphy in 1892 and that Oliver Lodge had demonstrated it in 1894 before the British Association in its annual meeting at Oxford. See Sungook Hong’s article in Technology and Culture (Oct. 1994), which argues that Aitken’s claim for Lodge is incorrect. materials materials wireless telegraphy radio wireless communication vacuum tubes Marconi, Guglielmo Crookes, William Lodge, Oliver wireless communication wireless telegraphy, and origins Hong, Sungook radio, and vacuum tubes vacuum tubes, and radio Aitken, Hugh G. J. Syntony and Spark: The Origins of Radio 33780 Akersten, S. Ingvar The Strategic Computing Program Allan M. Din, ed. Arms and Artificial Intelligence: Weapon and Arms Control Applications of Advanced Computing New York Oxford University Press
1987
87-99 This paper grew out of a 1986 workshop sponsored by the Stockholm International Peace Research Institute. This paper gives an overview of the DARPA's strategic computing initiative, based on the original 1983 document outlining the program as well as a subsequent planning document. The original "Strategic Computing" document of October 28, 1983, notes that changes in artificial intelligence, computer science, and microelectronics present "possibilities" that are "quite startling, and suggest that new generation computing could fundamentally change the nature of future conflicts.
"In contrast with previous computers, the new generation will exhibit human-life, 'intelligent' capabilities for planning and reasoning. The computers will also have capabilities that enable direct, natural interactions with their users and their environment as, for example, vision and speech.
"... Our citizens will have machines that are 'capable associates', which can greatly augment each person's ability to perform tasks that require specialized expertise." (90) R & D computers computers Soviet Union simulations strategic defense initiative (SDI) Reagan administration nationalism microprocessing Defense Advanced Research Projects Agency (DARPA) computers and the Internet artificial intelligence and biotechnology artificial intelligence strategic computing initiative aeronautics and space communication Reagan administration, and artificial intelligence Reagan, Ronald Reagan, Ronald, and computers military communication nationalism, and communication computers, and artifical intelligence military communication, and artificial intelligence nationalism, and computers DARPA Japan computers, and chips research and development USSR microelectronics microprocessors personal computers computers, personal war war, and artificial intelligence computers, and war war, and computers SDI Reagan administration, and SDA satellites computers, and simulations simulations, and computers non-USA Akersten, S. Ingvar The Strategic Computing Program 32480 Albers, Josef Interaction of Color New Haven and London Yale University Press
1963, 1971, 1975
The author writes that "in order to use color effectively it is necessary to recognize that color deceives continually. To this end, the beginning is not a study of color systems." (1) Later he says that "both film color and volume color might be considered tricks of nature." (46) And then, "with the discovery that color is the most relative medium in art, and that its greatest excitement lies beyond rules and canons, a more sensitive discrimination was needed. The more a creative use of color developed, the less desirable became a merely trustful and obedient application." (66) censorship avant garde art color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s color, and sensation censorship and ratings censorship, and color values values, and color color, and values freedom freedom, and color color, and freedom Albers, Josef Interaction of Color 36540 Alder, Renada The Screen: Zane Grey Meets the Marquis de Sade New York Times
Jan. 25, 1968
33 This review denounces the violence in Sergio Leone’s The Good, the Bad, and the Ugly (1966), filmed in Spain and starring Clint Eastwood. , news violence motion pictures and popular culture motion pictures motion pictures, and violence violence, and motion pictures motion pictures, and violence motion pictures, and foreign motion pictures, foreign censorship and ratings Smith, Margaret Chase, and motion pictures Smith, Margaret Chase Alder, Renada The Screen: Zane Grey Meets the Marquis de Sade 17590 Aldgate, Anthony Cinema and History: British Newsreels and the Spanish Civil War London Solar Press
1979
This study of British newsreels during the Spanish Civil War has information about the technology that cameramen used during the 1930s. By the mid-1930s, for example, the Mitchell and Newman Sinclair cameras from the United States were available on the British market. The camera and sound equipment together had been reduced in size to weigh about 150 pounds, although there were still obstacles to filming. The cameras held only about three minutes of film before they needed to be reloaded. The work also considered technical challenges to recording sound during this period. newsreels microphones motion pictures and popular culture motion pictures sound recording motion pictures, and sound recording motion pictures and newsreels newsreels, and sound recording cameras, and newsreels cameras, and sound recording sound recording, and cameras sound recording, and portable cameras, and portable microphones, and newsreels cameras news news and journalism Aldgate, Anthony Cinema and History: British Newsreels and the Spanish Civil War 8800 Alexander, Charles C. Here the Country Lies: Nationalism and the Arts in Twentieth-Century America Bloomington Indiana University Press
1980
A clash of cultures occurred during the late - nineteenth century involving affluent traditionalists who believed great art must be European-inspired and dissident intellectuals who believed that America must produce a distinctive art. This cultural clash produced a rift within the dissidents themselves, who split into factions favoring modernism and romantic nationalism. This rift determined the course of acceptable art for most of the first half of the twentieth century. While the influence of architecture, most forms of music, and nearly all writing was limited to the domestic marketplace, the effect internationally of painters, sculptors, and moviemakers was profound. Images of America and Americans were popular in Europe during the late 1920s through the 1930s. This early popularity became the foundation for American dominance of international art during the immediate years following World War II.
--James Landers nationalism imperialism photography motion pictures modernism modernity modernism modernity nationalism and communication Landers, James photography and visual communication art, and nationalism nationalism, and art modernism, and art art motion pictures, and art cultural imperialism cultural imperialism, and art Alexander, Charles C. Here the Country Lies: Nationalism and the Arts in Twentieth-Century America 40310 Alexander, Jerome Professor Troland and Dr. Kunz Science
Sept. 16, 1932
76 (New Series) 1968 255 This brief piece has a paragraph listing "several important papers on the nature of life and life processes" that Leonard Troland wrote. Technicolor, and L. T. Troland Technicolor Münsterberg, Hugo Munsterberg, Hugo Troland, Leonard color Troland, Leonard, and color color, and Leonard Troland Troland, Leonard, and visual sensation color, and media effects media effects media effects, and color Troland, Leonard, and hedonism Troland, Leonard, and sexuality sexuality sexuality, and Leonard Troland Troland, Leonard, and book review book review, and Leonard Troland Troland, Leonard, and Technicolor Technicolor, and Leonard Troland Troland, Leonard, and Hugo Munsterberg Munsterberg, Hugo, and Leonard Troland Troland, Leonard, and psychology Troland, Leonard, and physics Troland, Leonard, and obituary obituaries, and Leonard Troland Troland, Leonard, and motion pictures Troland, Leonard, and metaphysics Alexander, Jerome Professor Troland and Dr. Kunz 1730 Allali, Jacques Stourdze The Birth of the Telephone and Economic Crisis Ithiel de Sola Pool, ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
97-111 France was leery to embrace the modern technology of the telephone as it threatened the government’s control of communication. Allali writes “A world of sequestered communication was fashioned where the fundamental orientation was to seek isolation, to escape as much as possible the dangerous pulsations of the social body. In the ten- year confrontation between the visual and electric telegraphs, conflicts emerged which would reappear at the birth of the telephone. Technical innovation in communication runs counter to already recognized and accepted technologies. To break through with its own new form and constraints, it must enlist the support of social forces which it, in turn, confirms and strengthens." (100-01)
--Catharine Gartelos nationalism non-USA telephones France France, and telephones telephones, and France telephones, and resistance to Gartelos, Catharine telegraph nationalism and communication nationalism, and telephones telephones, and nationalism nationalism, and telegraph Allali, Jacques Stourdze The Birth of the Telephone and Economic Crisis 27080 Allen, Mike Ellen Nakashima Clinton, Gore Hit Hollywood Marketing; Ads Aimed at Kids Could Spur Rules, Industry Is Told Washington Post
Sept. 12, 2000
A 1 This article is about the Clinton administration's attack on the entertainment industry's calculated effort to market violent movies and video games to young children, some as young as 10 years of age. Motion Picture Association of America (MPAA) classification MPAA self-regulation Federal Trade Commission (FTC) Clinton, William Jefferson Bush, George H. W. advertising, and public relations Valenti, Jack presidents, and new media Bush, George H. W. administration censorship and ratings propaganda public relations motion pictures media effects media violence violence FTC Clinton Administration censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification Gore, Al motion pictures and popular culture motion pictures, and children children, and media children, and violence motion pictures, and violence advertising advertising, and motion pictures advertising, and children advertising, and movie violence media effects FTC, and motion pictures motion pictures, and FTC Valenti, Jack, and violence Valenti, Jack, and children Valenti, Jack, and advertising video games video games, and children children, and video games rating system (U. S.), and controversies video games rating system (U. S.), and children children, and music rating system (U. S.) violence, and motion pictures violence, and video games violence, and children violence, and music Clinton, Bill, and movie rating system (U. S.) Clinton, Bill, and video game rating system (U. S.) Clinton, Bill, and music rating system (U. S.) Gore, Al, and movie rating system (U. S.) Gore, Al, and video game rating system (U. S.) Gore, Al, and music rating system (U. S.) Bush, George H. W., and movie rating system (U. S.) Bush, George H. W., and video game rating system (U. S.) Bush, George H. W., and music rating system (U. S.) Clinton, Bill Ellen Nakashima Clinton, Gore Hit Hollywood Marketing; Ads Aimed at Kids Could Spur Rules, Industry Is Told 38830 Allen, Viola What It Means to be an Actress Ladies' Home Journal
May 1899
16 6 2 Viola Allen says that the chief qualities an actress must have "are born with her: she must have health, strength, a good physique, brains, aptitude, imagination, memory and judgment. These aside from a generous share of instinctive talent and a goodly quantity which we call magnetism. Therefore is the true actress born and not made. I have not placed personal beauty in the category of essentials, because it is not an essential, but an undisputed aid. I say this because one need only to go over the list of the greatest actresses to see at once that they were not and are not all beautiful women. Genius always rises above personal beauty, but it must be true genius. And as there is so little of absolute genius in the world, an attractive face becomes an assistance to the actress." The article points out that the "actress has not time for social life." photography fame entertainment celebrity anti-theatrical prejudice celebrity culture critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater women women, and theater theater, and women values values, and acting values, and women women, and values censorship and ratings censorship, and theater theater, and censorship actors acting actors, and status of theater, and bias against actors, and bias against acting, and women women, and acting entertainment, and immorality morality, and theater anti-theatrical bias sexuality women, and photography photography, and women women, and beauty photography, and beauty religion, and antitheatrical bias celebrity photography, and celebrity celebrity, and photography photography, and beauty beauty, and photography sexuality, and photography photography, and sexuality sexuality, and actresses acting, and sexuality fame, and photography photography, and fame personality, and magnetism acting, and magnetism actresses, and magnetism acting, and charisma censorship morality personality religion theater Allen, Viola What It Means to be an Actress 30300 [ Aller, Herb Edmund M. DiGiullio Milton Forman Hal Mohr ] Echoes from the Hollywood Festival of World Television American Cinematographer
June, 1967
48 6 418-19, 424, 431 This article has excerpts from a panel on "Runaway Technology" at the Fourth Annual Hollywood Festival of World Television, April 9-12, 1967. Aller was business manager for IATSE Cameraman's Union (Local 659) in Hollywood; DiGiullio was vice president of the Mitchel Camera Corporation; and Mohr was director of photography and vice president of IATS Local 659.
Aller noted that more film used for newsreels than in making theatrical and TV productions. DiGiullio argues that there is much obsolete capital equipment and that the industry needs to modernize. cinematography television newsreels news and journalism news, and newsreels motion pictures television, and Hollywood cameras, and military military communication military communication, and 400-cycle generator cameras news Hal Mohr ] Echoes from the Hollywood Festival of World Television 40250 Allport, Gordon W. [Book Review] Journal of Abnormal and Social Psychology
1928-1929
23 510-13 In this book review of Leonard Troland's Fundamentals of Human Motivation (New York: Van Nostrond, 1928), Gordon Allport wrote that Troland's book suggests that "the time is ripe for a recrudescence of hedonism, purified and enriched by a century of discovery, and founded at last on a standard neural physiology." (510)
Allport commented on Troland's theories about sexual motivation. "There is probably no treatment of the psychophysiology of sex motives more complete than Troland's. It is a pity that the argument is widely scattered through the book, instead of gathered into consecutive chapters. It is well worth reprinting as a separate contribution. Characteristic of the author's method, this theory takes its point of departure in Sherringtonian psychology, postulates both the nerve centers and the functions necessary to account for the phenomena observed, and rigorously follows through the consequences of these postulates, until a highly original and quite plausible schema of sexual motivation is complete." (512)
Although Allport challenged some of Troland's ideas, he concluded that the work has a "remarkable richness and strength. Disagreement in this case itself a tribute." (513) Troland, Leonard color Troland, Leonard, and color color, and Leonard Troland Troland, Leonard, and visual sensation color, and media effects media effects media effects, and color Troland, Leonard, and hedonism Troland, Leonard, and sexuality sexuality sexuality, and Leonard Troland Troland, Leonard, and book review book review, and Leonard Troland Allport, Gordon W. [Book Review] 32660 Alpert, Hollis SR Goes to the Movies: The Film of Social Reality Saturday Review
Sept. 6, 1969
52 43? During the 1960s, movie makers found technology that gave them greater flexibility and freedom. Zoom lens, hand-held cameras, hidden cameras and microphones all made film makers more mobile and better able to record motion smoothly and capture spontaneity, action, sexuality, and violence in ways that gave movie and TV audiences a greater sense of realism. And the new technology also gave cameramen the “ability to use reality as adjunct,” observed critic Hollis Alpert, “as highly convincing background to a film’s fictional or imaginative purpose.” motion pictures cameras special effects television television, and camera motion pictures, and cameras cameras, and motion pictures cameras, television Alpert, Hollis SR Goes to the Movies: The Film of Social Reality 12460 Alvarado, Manuel ed. Video World-Wide: An International Study Paris UNESCO
1988
This UNESCO (United Nations Educational, Scientific and Cultural Organization)study, which employed 29 researchers and 39 countries, has valuable information on the spread and use of video technology at the end of the 1980s. It notes that there were then four “video rich” areas: North America, Western Europe, the Arab countries, and Japan and Southeast Asia. Lagging behind in video use were Latin America, Africa, and Eastern Europe.
The study found that the most important use of video technology was time shifting, recording television programs for later viewing. The next two most important uses were to watch non-broadcast material, primarily motion pictures, and to view non-broadcast amateur material such as home movies.
Among the variables in explaining the diffusion of video technology were 1) price; 2) restrictions and taxes imposed by government; 3) the distribution of income (e.g., south of the Sahara, a VCR cost 29 times the minimum annual salary); and the content of broadcast TV.
The study also notes that video had become “an alternative means of mass communication” in many countries. In some instances it was subversive to the prevailing power structure.
Each of this work’s twenty-two chapters is devoted to a specific country or region, and has a separate author. (Paul E. Cahill wrote the chapter on the United States and Canada).
The work concludes by suggesting future research on video technology should be directed to several areas: research should focus 1) less on video recorders on more on cameras, editing, and dubbing suites; 2) more on the world-wide flow of pre-recorded videos; 3) more on government policy making relating to video technology; and 4) more on audiences, especially the part played by videos in multi-language societies. technology video cassette recorders (VCRs) USSR nationalism magnetic recording time and timekeeping video United Nations time technology and society motion pictures materials materials magnetic tape law censorship and ratings censorship non-USA sound recording videotape image recording, and videotape UNESCO nationalism and communication technology diffusion censorship, and video video, and censorship audiences, and video VCRs timeshifting, and VCRs Great Britain Great Britain, and video Spain Spain, and video Italy Italy, and video Sweden Sweden, and video Japan Japan, and video India India, and video motion pictures and popular culture motion pictures, and VCRs VCRs, and motion pictures Australia Australia, and video Hong Kong Hong Kong, and video Jordan Jordan, and video Egypt Egypt, and video Poland Poland, and video Soviet Union Soviet Union, and video Yugoslavia Yugoslavia, and video Hungary Hungary, and video Africa Africa, and video Brazil Brazil, and video Peru Peru, and video Latin America Latin America, and video Colombia Colombia, and video Venezuela Venezuela, and video Chile Chile, and video Belize Belize, and video audiences sound, and space Alvarado, Manuel ed. Video World-Wide: An International Study 28190 American Academy of Child and Adolescent Psychiatry, et al. Joint Statement on the Impact of Entertainment Violence on Children -- Congressional Public Health Summit (July 26, 2000)
July 26, 2000
Feb. 2, 2003 http://www.aacap.org/press_releases/2000/0726.htm This joint statement by the American Academy of Child and Adolescent Psychiatry and others points to the potentially damaging social and psychological effects of violence on television and other mass media. children sound recording music motion pictures media effects media violence violence media effects censorship and ratings children motion pictures and popular culture television video games music, and violence social science research media effects, and violence violence, and social science research American Medical Association, and violence American Academy of Pediatrics, and violence American Psychological Association, and violence American Academy of Child and Adolescent Psychiatry, and violence violence, and AMA violence, and APA violence, and AAP violence, and AACAP children, and media violence violence, and children media effects, and children children, and media effects children, and social science research social science research, and children American Academy of Pediatrics American Psychological Association American Medical Association children, and media American Academy of Child and Adolescent Psychiatry, et al. Joint Statement on the Impact of Entertainment Violence on Children -- Congressional Public Health Summit (July 26, 2000) 25910 American Academy of Pediatrics Statement, ... on the Television Ratings System Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, First Session
Feb. 27, 1997
Feb. 27, 1997 342-45 See also: violence See also: sexuality Here the American Academy of Pediatrics endorses the adoption of a rating system for television and points to the damaging effects of television violence. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack social science research censorship and ratings rating system (U.S.) rating system (U. S.) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects media violence government censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship television motion pictures and popular culture motion pictures rating system (U. S.), and television television, and rating system (U. S.) classification, and television television, and classification motion pictures, and rating system (U.S.) television, and censorship censorship, and television Valenti, Jack, and Congress Valenti, Jack, and TV rating system (U.S.) children, and media children television, and Congress violence violence, and mass media violence, and television violence, and motion picture violence, and Jack Valenti hearings (U.S.) MPAA, and public relations MPAA, and television, new media effects social science research, and violence social science research, and TV violence American Academy of Pediatrics American Academy of Pediatrics Statement, ... on the Television Ratings System 29300 American Civil Liberties Union Rating Systems Sponsored by the Communications Industries, Policy #18
[1988]
Document 88-14A, in Richard D. Heffner, "Pre-Oral History Memo for 1988," Box 4, Richard D. Heffner Papers, Columbia Oral History Collection, Butler Library, Columbia University, New York, NY The American Civil Liberties Union condemned the motion picture industry's rating system, calling it an effort to “homogenize the content” of media and “a private combination of power” that limited “the marketplace of ideas in film.” Classification and Rating Administration CARA Classification and Rating Administration (CARA) motion pictures and popular culture ACLU censorship and ratings ACLU, and censorship CARA, and ACLU ACLU, and CARA censorship, and ACLU censorship, and CARA CARA, and censorship Heffner, Richard Heffner, Richard, and ACLU CARA motion pictures censorship American Civil Liberties Union Rating Systems Sponsored by the Communications Industries, Policy #18 1130 American Federation of State, County and Municipal Employees Gaining Access to Radio and TV Time: A Union Member’s Guide to the Broadcast Media Washington, DC American Federation of State, County and Municipal Employees
1980
See also: office This guide attempts to show union members how they can use the broadcasting industry to communicate labor messages without having to buy advertising. The authors argue that the Fairness Doctrine and other FCC rules and regulations, such as the “personal attack” rule and the “equal opportunities” rule, give unions an opportunity for access to commercial and public broadcast airwaves. “ ... For too long, labor has allowed its message to be manipulated by broadcasters who ignore their public responsibilities.” This guide contains a brief explanation of public service programming, broadcast news operations, and public broadcasting. It includes sample letters that union members can use to ask or demand to be heard, sample public service announcements for radio and television, and a sample Fairness Doctrine complaint letter to the FCC.
--Phil Glende Glende, Phil labor labor, and new media labor, and television labor, and radio labor, and public relations labor, and advertising labor, and FCC American Federation of State, County and Municipal Employees Gaining Access to Radio and TV Time: A Union Member’s Guide to the Broadcast Media 25840 American Medical Association Statement, ... RE: Ratings System for Violence on Television Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, First Session
Feb. 27, 1997
Feb. 27, 1997 334-41 See also: violence See also: sexuality Here the American Medical Association endorses the adoption of a rating system for television programs and points to the damaging effects of television violence. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack social science research censorship and ratings rating system (U.S.) rating system (U. S.) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects media violence government censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship television motion pictures and popular culture motion pictures rating system (U. S.), and television television, and rating system (U. S.) classification, and television television, and classification motion pictures, and rating system (U.S.) television, and censorship censorship, and television Valenti, Jack, and Congress Valenti, Jack, and TV rating system (U.S.) children, and media children television, and Congress violence violence, and mass media violence, and television violence, and motion picture violence, and Jack Valenti hearings (U.S.) MPAA, and public relations MPAA, and television, new media effects social science research, and violence social science research, and TV violence American Medical Association American Medical Association Statement, ... RE: Ratings System for Violence on Television 25790 American Psychiatic Association Statement, on the Television Parental Guidelines System Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, First Session
Feb. 27, 1997
Feb. 27, 1997 240-44 See also: violence See also: sexuality Here the American Psychiatic Association endorses the adoption of a rating system for television programs and points to the damaging effects of television violence. The Statement of Robert T. M. Phillips, Deputy Medical Director, American Psychiatric Association, appears in ibid., 237-39. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack social science research censorship and ratings rating system (U.S.) rating system (U. S.) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects media violence government censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship television motion pictures and popular culture motion pictures rating system (U. S.), and television television, and rating system (U. S.) classification, and television television, and classification motion pictures, and rating system (U. S.) television, and censorship censorship, and television Valenti, Jack, and Congress Valenti, Jack, and TV rating system (U.S.) children, and media children television, and Congress violence violence, and mass media violence, and television violence, and motion picture violence, and Jack Valenti hearings (U.S.) MPAA, and public relations MPAA, and television, new media effects social science research, and violence social science research, and TV violence American Psychiatric Association American Psychiatic Association Statement, on the Television Parental Guidelines System 6480 Amstutz, Noah W. Visual Telegraphy Electricity
Feb. 28, 1894
6 77-80 See also Electricity, 6 (March 14, 1894), 110-11. television, and history of television telegraph telegraph, visual seeing at a distance television, and origins Amstutz, Noah W. Visual Telegraphy 2050 Anderson, Benedict Imagined Communities: Reflections on the Origin and Spread of Nationalism London Verso
1983
Parts of this work are interesting in its consideration of nationalism and communication. The author notes (in 1983) that nationalism is far more powerful than ideology (e.g., Marxism or liberalism) and that its origins in the West grow out of the Enlightenment and the eras of the American and French Revolutions in the late eighteenth century. He has interesting things to say about the spread of printing (esp. books, and the newspapers) and the effect on nationalism as well as on conceptions of time. (Here the author draws heavily on a relatively few secondary works such as Febvre and Martin’s The Coming of the Book). “The nation is imagined as limited because even the largest of them, encompassing perhaps a billion living human beings, has finite, if elastic boundaries....It is imagined as sovereign because the concept was born in an age in which Enlightenment and Revolution were destroying the legitimacy of the divinely-ordained, hierarchical dynastic realm....Finally, it is imagined as a community, because, regardless of the actual inequality and exploitation that may prevail in each, the nation is always conceived as a deep, horizontal comradeship.” The latter chapters discuss the rise of nationalism in “Third world” areas as well as patriotism and racism. This often-cited book has been influential among researchers in communications studies. nationalism time and timekeeping time print journalism timekeeping, and clocks news and journalism non-USA race printing printing press newspapers news nationalism and communication books, periodicals, newspapers printing, and nationalism time books, and nationalism newspapers, and nationalism nationalism, and patriotism nationalism, and racism racism patriotism Enlightenment Third World French Revolution nationalism, and Marxism nationalism, and liberalism newspapers books community, imagined community newspapers, and nationalism nationalism, and books nationalism, and newspapers timekeeping democracy France Anderson, Benedict Imagined Communities: Reflections on the Origin and Spread of Nationalism 18280 Anderson, Christopher HollywoodTV: The Studio System in the Fifties Austin University of Texas Press
1994
This book examines the developing relationship between Hollywood studios and television during the 1950s. The work has a good deal to say about the changing technology of both the movie and television industries. It also discusses the status of actors in American society and the role of advertising. Particularly interesting is the author's account of "Lights Jubilee," celebrating the 75th anniversary of the electric light. advertising, and public relations propaganda public relations lighting motion pictures and popular culture motion pictures actors, and status of motion pictures, and actors' status Screen Actors Guild television television, and motion pictures motion pictures, and television motion pictures, and studio system advertising advertising, and television television, and advertising Lights Jubilee motion pictures, and advertising advertising, and motion pictures television, and Warner Bros. Warner Bros., and television electricity Warner Bros. actors acting Anderson, Christopher HollywoodTV: The Studio System in the Fifties 20290 Anderson, Christopher Television and Hollywood in the 1940s Thomas Schatz Boom and Bust: The American Cinema in the 1940s New York Charles Scribner's Sons
1997
422-44 This chapter dealing with Hollywood and television during the 1940s, appears in Volume 6 of Scribner's History of American Cinema, Charles Harpole, ed. World War II television, and war war motion pictures and popular culture motion pictures television motion pictures, and television television, and motion pictures World War II, and television television, and World War II Anderson, Christopher Television and Hollywood in the 1940s 28140 Anderson, Craig A. Brad J. Bushman The Effects of Media Violence on Society Science
March 18, 2002
30 1-2 See also: violence See also: sexuality This work survey's research showing a causal link between violence in mass media and aggressive behavior on the part of some children. syntheses (of research) media research press motion pictures meta-analyses media effects violence (see also: media violence) violence media effects violence media violence censorship and ratings children television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures social science research, and press coverage press coverage, and social science research violence, and press coverage media violence, and American Medical Association media violence, and American Psychological Association media violence, and American Academy of Pediatrics media violence, and American Academy of Child and Adolescent Psychiatry media violence, and American Academy of Family Physicians media violence, and American Psychiatric Association American Psychiatric Association, and media violence American Academy of Family Physicians, and media violence American Academy of Child and Adolescent Psychiatry, and media violence American Academy of Pediatrics, and media violence American Psychological Association, and media violence American Medical Association, and media violence American Academy of Pediatrics American Medical Association American Psychiatric Association American Psychological Association pornography American Academy of Child and Adolescent Psychiatry Brad J. Bushman The Effects of Media Violence on Society 28150 Anderson, Craig A. Brad J. Bushman Effects of Violent Video Games on Aggressive Behavior, Aggressive Cognition, Aggressive Affect, Psysiological Arousal, and Prosocial Behavior: A Meta-Analytic Review of the Scientific Literature Psychological Science
Sept. 2001
12 5 353-59 See also: violence See also: sexuality This article is a meta-analysis of research done on the effects of violent video games. Although video games were relatively new and empirical research on them is not as developed as on television, for example, video games had become a business surpassing motion pictures by 2001. syntheses (of research) media research classification self-regulation CARA censorship and ratings press motion pictures meta-analyses media effects violence (see also: media violence) violence media effects violence media violence video games censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures social science research, and press coverage press coverage, and social science research violence, and press coverage video games, and violence children, and video games media effects, and video games video games, and media effects video games, and social science research social science research, and video games video games, and violence violence, and video games video games, and children rating system (U. S.), and video games video games, and rating system (U. S.) video games, and meta-analyses meta-analyses, and video games pornography Brad J. Bushman Effects of Violent Video Games on Aggressive Behavior, Aggressive Cognition, Aggressive Affect, Psysiological Arousal, and Prosocial Behavior: A Meta-Analytic Review of the Scientific Literature 30060 Anderson, Howard A. Linwood G. Dunn John Westheimer Out-of-this-world Special Effects for 'Star Trek' American Cinenatographer
Oct., 1967
48 10 714-17 This article on special effects for the television series "Star Trek," consists of brief pieces by Howard A. Anderson, President of Howard A. Anderson Co.; Linwood G. Dunn, ASC, President of Film Effects of Hollywood, Inc.; and John Westheimer, ASC, President of Westheimer Company. cinematography television special effects television, and special effects location shooting motion pictures, and location shooting movie, Star Trek (TV series) Star Trek (TV series) color color film, and TV special effects special effects, and television special effects and blue matting motion pictures John Westheimer Out-of-this-world Special Effects for 'Star Trek' 19660 Anderson, Patrick Born Hero-Worshiper Who Serves His Hero New York Times Magazine
Feb. 20, 1966
28-29, 64, 66, 71-72 This article is about Jack Valenti (before he moved to the motion picture industry), and about his admiration for President Lyndon B. Johnson. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Anderson, Patrick Born Hero-Worshiper Who Serves His Hero 19620 Anderson, Patrick The President's Men: White House Assistants of Franklin D. Roosevelt, Harry S Truman, Dwight D. Eisenhower, John F. Kennedy and Lyndon B. Johnson Garden City, N. Y. Doubleday & Company
1968
This book has information on Jack Valenti, one-time assistant to President Lyndon B. Johnson. Valenti in 1968 was president of the Motion Picture Association of America. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Anderson, Patrick The President's Men: White House Assistants of Franklin D. Roosevelt, Harry S Truman, Dwight D. Eisenhower, John F. Kennedy and Lyndon B. Johnson 6100 Andrew, Dudley The Post-War Struggle for Colour Teresa De Lauretis and Stephen Heath, eds. The Cinema Apparatus New York St. Martin's Press
1980
61-75 Andrew discusses the French effort to develop color films during the post-World War II era. The French resented the American attempt to dominate the French market through Technicolor. Alternatives included Agfacolor, but “at the close of the war Technicolor was able to dominate the market largely because Agfa fell with the Third Reich.... While France did indeed avoid an American takeover in color, adopting the Belgian Geva system after the failure of its two most promising indigenous methods, this should not be seen as the victory of vision and intelligence over crass American money.... The French situation did not fully deteriorate until 1956 when cinema admissions began dropping enormously due to the impact of television and other leisure time alternatives.”
This paper, delivered at a conference at UW-Milwaukee in February, 1978, has good information about Germany and the development of color film (e.g., on Agfa scientists), and changes in Technicolor: “... a momentous change had occurred in the color world. Technicolor abandoned its cumbersome camera, and entered into a pact with the Eastman Kodak Company. From 1953 on, Technicolor would process only Eastman Color negative stock using its peerless imbibition process.” corporations corporations Eastman Kodak non-USA motion pictures Germany motion pictures color motion pictures, and color color, and film motion pictures, and France France, and motion pictures color, and Technicolor color, and Agfacolor Germany, and color film Eastman Kodak Company Eastman Color France Germany Andrew, Dudley The Post-War Struggle for Colour 41910 Andreyev, Leonid Andreyev on Motion Pictures New York Times
Oct. 19, 1919
XX 5 This article by Leonid Andreyev, the Russian novelist and dramatist, was originally published in the Almanac Shipobnik of Petrograd in 1912. The excerpts from that piece which appear in the New York Times were translated by the Russian actor Manart Kippen.
Andreyev begins by discussing the skepticism many intellectuals had about cinema, or as he says, "living photography." They tended to view it as akin to such entertainments as the skating rink. Andreyev says that many writers and artists considered early cinema to be "An artistic Apache, and aesthetic Hooligan, a free and grabbing arrival on the wheel of true art...."
Andreyev believed that cinema would "free the theatre from ... unnecessary and useless things," and that future cinema would become increasingly powerful and influential. He writes: "The cinema will be a mirror the size of the screen, but not a mirror which will reflect you. What is the nature of this? Technique? No, for the mirror is not technique: the mirror is life reflected a second time. Will this be lifeless? No, because what is reflected in the mirror is neither lifeless nor living: it is a secondary life, an existence of a vision or hallucination. Here the curtain is raised, the fourth wall seems to [fail? fall?], and a thirty-five foot opening as if in a colossal window, appear living pictures of the world. Clouds pass across the sky, grain fields wave and the sultry distance swoons." Cinema is much more effective than the theater in showing action, spectacle, and settings. "In addition to the decoration it can also give realistic effects which are not in the power of the theatre. The cinema has the advantage, commanding the entire extent of the world capable of many instantaneous reincarnations, a master about when it pleases to bring into action thousands of people, automobiles, aeroplanes, mountains and seas incontestable and clear." Andreyev says that "No matter where the action takes place, whatever extraordinary forms it assumes, the cinema will reach out and get if for the magic screen." The movie camera captures "everything except the spoken word." "Only one thing it cannot give -- speech. Here is the end of its power, the boundary of its might."
Movies also could revive the dead. "Do you wish to see those who have died? They humbly appear, look, smile, and, you having passed through the same door, they now sit at table with you."
Clearly Andreyev believed cinema would change thinking, although he writes that "I am not going to speak here of what revolution in psychology at the very beginning of thought the motion picture of the future will bring about." Andreyev thought cinema was an international language and comparable to the airplane, telegraph, and telephone. "Wonderful Moving Picture! If the highest and holy purpose of art is to create intercourse among peoples and their similar souls, then what a tremendous unimaginable, socio-psychological task is this modern Apache destined to perform. And alongside it, of the same staff, is navigation of the air, the telegraph, the telephone. Portable, placed in a box, films are sent by post all over the world like an ordinary newspaper. Having no language, understood equally by savages of Petrograd or Calcutta, they become indeed the genius of international intercourse, make nearer the ends of the earth and the borders of souls. They sweep within one fast current all pulsating humanity." stage magic history motion pictures stage and theater motion pictures, and stage Andreyev, Leonid, and motion pictures non-USA motion pictures, and Russia Russia, and motion pictures motion pictures, and Leonid Andreyev motion pictures, and electricity electricity, and motion pictures motion pictures, and revolution in psychology photography motion pictures, and photography photography, and motion pictures motion pictures, as mirror metaphors metaphors, and motion pictures motion pictures, as colossal window motion pictures, as second life motion pictures, as hallucination motion pictures, and history motion pictures, and the dead history, and motion pictures history, and new media motion pictures, as magic screen magic, and motion pictures motion pictures, as genius of international discourse motion pictures, and internationalism electricity Russia Andreyev, Leonid Andreyev on Motion Pictures 30160 Angelo, Emedio 'Dante's Inferno' As(?) Experimental Film Project in 16mm Color American Cinematographer
Jan., 1964
45 1 24-25, 51-52 The author discusses his efforts to bring Dante's classic to the screen "with a surrealistic underscoring in the art work" using 16mm color film. Describing his efforts as a "labor of love" (25) He saw the motion picture as a way of extending the work of traditional artists, to communication their "emotions and ideas..... Motion pictures are equivalent to a series of canvases. When projected they represent the artist as truly as though his work hung on a gallery wall." (52) cinematography motion pictures cameras color motion pictures, and 16mm 16mm 16mm, and color color, and 16mm color film motion pictures, and 16mm color film motion pictures, and art Angelo, Emedio 'Dante's Inferno' As(?) Experimental Film Project in 16mm Color 3400 Angus, Ian Orality in the Twilight of Humanism: A Critique of the Communication Theory of Harold Innis Continuum: The Australian Journal of Media & Culture
1993
7 1 16-42 The author writes that Innis's work, "in perpetual tension between ... two locations -- Canada and 'the West' -- begins to clear a space for a post-colonial reformation of thought through a theory of communication." nationalism imperialism values non-USA Innis, Harold, and orality Canada Innis, Harold, and critics Innis, Harold, and values values, and Harold Innis nationalism and communication Innis, Harold, and nationalism cultural imperialism Innis, Harold, and post-colonial thought values Innis, Harold Angus, Ian Orality in the Twilight of Humanism: A Critique of the Communication Theory of Harold Innis 3300 Angus, Ian and Brian Shoesmith eds. Dependency/Space/Policy: A Dialogue With Harold A. Innis Continuum: The Australian Journal of Media & Culture
1993
7 1 See filed under Continuum (1993). This issue is devoted to the work of Canadian historian and political economist, Harold A. Innis. There are several articles that deal with Innis' work as well as an excerpt from Innis's unpublished "History of Communication" that deals with printing in China during the ninteenth and twentieth centuries.
Essays include the editors Introduction; Ian Angus, "Orality in the Twilight of Humanism: A Critique of the Communication Theory of Harold Innis"; Roman Onufrijchuk, "Introducting Innis: McLuhan Concluding: The Innis in McLuhan's 'System'"; Alison Beale, "Harold Innis and Canadian Cultural Policy in the 1940s"; Paul Heyer, "Empire, History, and Communications Viewed from the Margins: The Legacies of Gordon Childe and Harold Innis"; Hart Cohen, "Margins at the Centre: The Application of Innis' Concept of Bias to the Development of Aboriginal Media"; Brian Shoesmith, "An Introduction to Innis' 'History of Communication'"; Harold A. Innis, "Printing in China in the 19th and 20th Century"; Sut Jhally, "Communications and the Materialist Conception of History: Marx, Innis and Technology." nationalism Asia print printing non-USA Innis, Harold nationalism and communication China China, and Harold Innis printing, and China China, and printing Innis, Harold, and History of Communication McLuhan, Marshall, and Harold Innis Innis, Harold, and Marshall McLuhan Canada Canada, and Harold Innis Innis, Harold, and Karl Marx Innis, Harold, and new media McLuhan, Marshall Angus, Ian and Brian Shoesmith eds. Dependency/Space/Policy: A Dialogue With Harold A. Innis 25490 Ansen, David Raw Carnage or Revelation? The Overkilling Fields Newsweek
Aug. 29, 1994
54 This article discusses violence in such movies as Oliver Stone's Natural Born Killers (1994), the NC-17 rating, and the adequacy of the motion picture rating system. Natural Born Killers (1994) Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality Classification and Rating Administration (CARA) sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising sexuality motion pictures media effects media violence law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence public relations public relations, and motion pictures public relations, and Natural Born Killers motion pictures, and sex motion pictures, and violence violence violence, and motion pictures sex, and motion pictures nudity, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising language motion pictures, and language nudity CARA, and nudity motion pictures, and nudity Stone, Oliver public relations, and Oliver Stone Stone, Oliver, and public relations advertising, and Natural Born Killers Natural Born Killers, and advertising Ansen, David Raw Carnage or Revelation? The Overkilling Fields 3020 APEX A Trade Union Strategy for the New Technology Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
374-90 See also: office This statement comes from a pamphlet entitled Office Technology: The Trade Union Response, issued in March, 1979 by the Association of Professional, Executive, Clerical and Computer Staff, a British office workers union. The pamphlet gives a good account of how word processing has influenced jobs -- their content, design, skills needed, and threats to health. It outlines union strategy in the event of likely unemployment. computers labor communication revolution second industrial revolution communication revolution computers non-USA microelectronics Information Age computers and the Internet automation microelectronics revolution Great Britain microelectronics revolution, and unemployment labor word processing information processing unions, and automation labor, and new media office, and computers computers, and labor labor, and computers labor, and word processing office APEX A Trade Union Strategy for the New Technology 6490 Appelbaum, Stanley and Richard Kelley eds. Great Drawings and Illustrations from Punch, 1841-1901 New York Dover Publications
1981
One of the interesting illustrations is a picture from Punch in 1879 of “Edison’s Telephonoscope” which was to have transmitted “light as well as sound.” It is an early vision of home entertainment. illustrations entertainment entertainment, home home entertainment future and science fiction home, and new media home television, and history of home, and information technology information technology illustrations television future illustrations, and television (1879) seeing at a distance television, and origins information technology, and home Edison, Thomas Telephonoscope telephones Edison, Thomas, and Telephonoscope home entertainment, and Thomas Edison Appelbaum, Stanley and Richard Kelley eds. Great Drawings and Illustrations from Punch, 1841-1901 21160 Arar, Yardena Movie-Ratings Boss Says System Works Plain Dealer [Cleveland]
Nov. 25, 1993
3L This article relates Jack Valenti's defense of the movie rating system, then under heavy criticism from critics. Valenti notes that about a third of the 225 most recent appeals of movie rating have been changed. He also admitted that they rating might be harsher on sex than on violence. "We've been unable to define what is too much violence, any more than the Supreme Court has been able to define, to this hour, what is pornography," he said. "The definition of violence is gauzy and very shadowy. It's almost like trying to pick up mercury with a fork." Motion Picture Association of America (MPAA) classification MPAA self-regulation CARA censorship and ratings rating system (U.S.) motion pictures media effects media violence violence law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures, rating system (U. S.) Valenti, Jack Valenti, Jack, and violence violence, and Jack Valenti rating system (U. S.) Arar, Yardena Movie-Ratings Boss Says System Works 34050 Arata, Luis O. Reflections on Interactivity David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
217-25 The author says that "the sense of interactivity that dominates the digital media stretches as far back as we care to look into the roots of human creation." (217)
Arata's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. computers computers and the Internet computers, and interactivity hypertext digital media computers Arata, Luis O. Reflections on Interactivity 39310 Archer, William The New Drama and the New Theater McClure's Magazine
Nov. 1909
34 1 3-16 This article seeks to refute critics who argue that the modern theater is decadent. The author explains his intent: "This is the endeavor I am about to make with regard to the dramatic movement of our time. That there has been a marked movement during the past twenty-five years in the Anglo-American drama it is impossible to doubt. In the following pages I shall briefly trace its history: for the moment, it may be sufficient to point to the most recent phase of the movement -- the number of more or less idealistic enterprises which are maturing or have lately matured on both side of the Atlantic...." (3)
The author argues that drama is "not decadent." (4) Archer asks "Is this idealistic impulse an attempt to rescue the drama from a state of abject and intolerable decline? or is it merely the latest manifestation of a general and decisive advance? I myself, without any shadow of hesitation, hold the latter opinion; but the former is, if not the more common view, at least the view of a not insignificant minority. We constantly hear talk of the decadence of the drama, and lamentations over its by-gone glories. Let us see if we can find any reasonable grounds for this frame of mind. Let us try to discover what it really means." (4) Archer discusses "The Reign of Scribe, and the Ibsen Revolution," (7-9), "The Free Theaters" (9), "Ibsen and Nationalism" (9-10), "Two Wave of Progress" (10-11), "The Stage Society" (11-12), "London, Dublin, and Manchester" (12-13), "The Nineteenth Century in America" (13-14), "1899 and 1907 -- A Contrast" (14-15), "From James Herne to Donald Robertson" (15), and "The New Theater" (15-16). theaters stars (actors) theater fame celebrity anti-theatrical bias critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality magazines theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality critics, and defenders of theater nationalism and communication theater, and nationalism nationalism, and theater Great Britain non-USA Great Britain, and theater theater, and Great Britain non-USA, and theater theaters, and non-USA censorship audiences nationalism Archer, William The New Drama and the New Theater 1360 Argüelles, José A. The Transformative Vision: Reflections on the Nature and History of Human Expression Berkeley & London Shambhala
1975
Chapter 11, “Drawing with Light: Photography, Reality, and Dream,” and chapter 13, “Revolution of the Eye, Revolution of the Mind,” make perceptive observations about the influence and nature of photography. The author writes: "Photography is one of those technical devices which has so drastically altered our senses and upon which we have developed such a profound dependence that it is difficult, indeed impossible, for us to think about it with any degree of detachment. Nothing yet invented, save perhaps the tape recording, offers such a convincing ‘proof’ of what we consider to be real; and conversely, nothing is likely to be considered real unless it can be photographed. Photography makes the philosophy of materialism a closed case....
“The true culmination of the mechanistic mode of visual perception and mental ordering was the perfection of drawing with light, the literal meaning of photography. In a vital respect, the tradition of Western painting after the Renaissance is the prehistory of photography....”
Before photography, the length of time needed to complete a painting ensured that “the narrative mode predominated in the visual arts as well as in other cultural areas; history painting was flanked by grand opera and the novel,” Argüelles writes. “With the rise of photography, however, history painting lost its significance, for photography’s instantaneous technique plunged the European consciousness of reality into the immediate present. With the displacement of history painting, the entire edifice of academic culture came crashing down. The history painting produced by the residual academicism of the late nineteenth century appears bombastically contrived, a stage set that could be salvaged and redeemed only by the aesthetics of Hollywood cinema.” tape recording, magnetic magnetic recording recording tape recording photography seeing at a distance preservation postmodernism modernism communication revolution history sound recording tape recording recording photography and visual communication history sound recording, and tape recorders tape recorders photography and visual communication, and materialism drawing with light visual arts, narrative mode painting painting, and academic culture photography and visual communication, and academic culture communication revolution photography and visual communication, revolution in seeing medium is the message photography and visual communication, and present history, break with history, and new media new way of seeing visual communication Argüelles, José A. The Transformative Vision: Reflections on the Nature and History of Human Expression 31670 Armstrong, David A Trumpet to Arms: Alternative Media in America Los Angeles J. P. Tarcher, Inc.
1981
Dristributed by Houghton Mifflin Company, Boston. This book offers one of the best accounts of the underground or alternative media during the 1960s and 1970s. In chapter 2, "Rise of the Underground Press," Armstrong discusses the impact of offset printing that made it possible to publish newspaper at a greatly reduced cost. For those interested in other developments related to new technologies, chapter 3, "The New Media Environment," is particularly good. There Armstrong discusses the impact of 16mm films and videotape. "Video activists believed strongly in the power of the new technology to create a video democracy," he writes. (72) He also covers the use of color in the underground press (e.g., by such underground papers as the San Francisco Oracle) and the use of radio. underground media videotape offset printing underground press offset printing, and underground press underground press, and offset printing democracy censorship and ratings color underground press, and color color, and underground press radio underground press, and radio radio, and underground press San Francisco Oracle Berkeley Barb television cable television cable television, and democracy democracy, and cable television television, and cable television, and democracy cable magnetic tape magnetic recording underground newspapers Armstrong, David A Trumpet to Arms: Alternative Media in America 11430 Armstrong, Richard The Next Hurrah: The Communications Revolution in American Politics New York Beech Tree Books, William Morrow
1988
Armstrong attempts to assess the impact of new media technologies on American politics during the 1980s. "What is really 'new' about political television in the 1980s," he writes, "was that it was cheaper, more plentiful, and much more immediate than it had ever been before. These effects were the direct result of new video production technologies [especially videotape], new distribution technologies, new technologies in the generation of 'free media,' new technologies in media buying, and new technologies in polling -- all of which combined to make campaigns seem more 'negative' but that actually made them more 'reactive.'" Armstrong believes that during the 1980s, "the press was not just being manipulated, it was actually being supplanted."
Armstrong deals with several means of communication -- direct mailings, computers, cable television, satellites, telemarketing, and other so-called "new electronic media" -- and how they intersect with American politics. The book is divided into two sections. The first has four chapters on Direct Mail. The second, entitled "The New Technologies," has five chapters dealing with telemarketing, cable TV, satellites, computers, and telecommunications and its new electronic media. computers magnetic recording advertising, and public relations presidents, and new media Reagan administration propaganda public relations magnetic tape community democracy information technology general studies democracy and media critics television cable television television, and cable computers and the Internet direct mail telemarketing aeronautics and space communication information technology, and politics videotape Reagan, Ronald advertising advertising, political advertising, negative cable telephones satellites Armstrong, Richard The Next Hurrah: The Communications Revolution in American Politics 3670 Arnold, Erik and Ken Guy Parallel Convergence: National Strategies in Information Technology Westport, CT Quorum Books
1986
This book surveys how nine countries and one supra-national grouping have attempted to build national strategies for using information technology (IT) -- defined as "the convergence of computing and communications technologies." Chapter 3 deals with the United States. Subsequent chapters treat Japan, the European Economic Community, the United Kingdom, France and Germany, and four smaller countries -- Belgium, Canada, The Netherlands, and Switzerland. The work discusses artificial intelligence, supercomputing, the strategic computing initiative, research and development, and other topics relating to national defense. R & D computers nationalism corporations corporations ARPA SDI research and development war communication revolution second industrial revolution communication revolution community democracy war non-USA computers research and development microelectronics information technology computers and the Internet military communication artificial intelligence and biotechnology computers, fifth generation Japan European Economic Communication nationalism and communication Germany France Canada Netherlands Switzerland Belgium Great Britain research and development, and government support Alvey Programme ARPANET strategic computing initiative strategic defense initiative (SDI) microelectronics revolution communication revolution democracy and media electronic media IBM information technology, and national defense telecommunications supercomputers bibliographies, and nationalism and communication bibliographies Europe supercomputing computers, and supercomputers media convergence Europe Arnold, Erik and Ken Guy Parallel Convergence: National Strategies in Information Technology 10150 Aronson, Sidney H. Bell's Electric Toy: What's the Use? The Sociology of Early Telephone Usage Ithiel de Sola Pool, ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
15-39 This essay is based largely on published sources. The author writes that “Alexander Graham Bell gave up his idea of the telephone as a commercial medium of entertainment and enlightenment when he solved the problem of reciprocal communication over distances, but the concept developed just the same and in a number of ways. In many communities the first to transmit news were not professional reporters or broadcasters but the telephone operators themselves. It is likely that in the role of informal broadcasters, operators illustrated the possibilities of the telephone. By the time increased telephone traffic made it impossible for them to continue that service, it was relatively easy for the enterprising to see the direction that a new medium might take.” entertainment entertainment, home news and journalism news news and journalism home entertainment news and journalism home, and new media home home, and information technology information technology telephones telephones, and news broadcasting information technology, and home Bell, Alexander Graham news, and telephones telephones, and news journalism, and telephones telephones, and journalism journalism Aronson, Sidney H. Bell's Electric Toy: What's the Use? The Sociology of Early Telephone Usage 3050 Ashworth, William B. Jr. Iconography of a New Physics History and Technology
1987
4 2 267-97 The author askes if there was "a pictorial accompaniment to the scientific revolution" of the seventeenth century. He observes that "the visual side of seventeenth-century was not confined to text illustrations. There was also widespread use of visual symbolism -- allegories, emblems, personifications -- found primarily on elaborate engraved title pages." Ashworth focuses on physics and develops several themes. First, it was "apparent that seventeenth-century physics -- at least the physics of moving or standing bodies -- was without a doubt the science with the least and poorest illustrations, and it is in strong contrast ... with cosmology, optics, pneumatics, magnetism, and even mathemathics." Second, he notes that "some images that seem significant to us today were almost totally ignored in the seventeenth century." Subjects that were illustrated included "the discovery of parabolic trajectories, and the problem of free fall from a tower." photography science iconography science, and iconography iconography, and science (17th century) science, and visual culture photography and visual communication Ashworth, William B. Jr. Iconography of a New Physics 5130 Asman, Edwin The Telegraph and the Telephone: Their Development and Role in the Economic History of the United States: The First Century, 1844-1944 n. p. n. p.
1980
non-USA networks telegraph telephones networks, electrical telegraph, transatlantic Asman, Edwin The Telegraph and the Telephone: Their Development and Role in the Economic History of the United States: The First Century, 1844-1944 3090 Aspray, William The History of Computing Within the History of Information Technology History and Technology
1994
11 1 7-19 See filed under History and Technology (1994) This article gives "an historiographic overview ... of the field of history of computing" framed around such categories as "components, hardware units, systems, and software," recognizing that such organization "naturally leads to a greater concentration on the technical rather than the social history of information technology." Aspray suggests additional topics that he believes deserve more study: e.g., "theory of computing, algorithm design, data structures, artificial intelligence, robotics, computer graphics, and information and control theory, together with a number of other topics taught in our graduate and increasingly in our undergraduate computer science curricula." He argues that "the most general trend in the historiography of computing is the preponderance of attention to the 'producer' (supply side) as opposed to the 'consumer' (demand side). I cannot think of a single major historical study on consumers," he writes.
This article appears in a special issue of History and Technology devoted to "Informati on Technologies and Socio-Technical Systems." Other authors include Daniel R. Headrick, Alan Q. Morton, Hans Dieter Hellige, and James S. Small. computers computers computers and the Internet computers, and history of computers, and future research computers, and producers computers, and consumers computers, and historiographic overview Aspray, William The History of Computing Within the History of Information Technology 330 Atherton, W. A. From Compass to Computer: A History of Electrical and Electronics Engineering San Francisco San Francisco Press, Inc.
1984
This history of electrical and electronics engineering is written by a non-historian, primarily for engineers and technicians, but also for a broader audience. Atherton believes that major inventors have drawn on history in their work and that it is important for contemporary practitioners to have a knowledge and appreciation of the past.
The work has twelve chapters. After the Introduction, early chapters cover “electricity and magnetism to 1820,” the work of Oersted, Ampere, and other during the 1820s, and electromagnetism. Chapter 5 examines European, American, and submarine telegraphy. Chapter 6 deals with electricity and its consequences, and Chapter 7 looks at motors, generators, and other forms of electrical power. Chapter 8 treats radio, radar, and television. Chapter 9 covers theories and discoveries relating to such topics as electrons, magnetism, noise, information theory, and electrical units. Chapter 10 is about the miniaturization of electronics and discusses transistors and integrated circuits. Chapter 11 deals with computers in Germany, Britain, and the U.S. A concluding chapter is entitled “A Technological Society.”
The work has brief references after each chapter and both a name and subject index. computers corporations materials, and silicon microprocessing transistors, and integrated circuits quantum physics preservation lighting history, and new media materials generators General Electric Company Company engineering digitization computers war non-USA electricity computers and the Internet radio telegraph telegraph, submarine Europe Europe, and telegraph telegraph, and Europe electromagnetism lighting, electric Edison, Thomas generators, DC generators, AC magnetism electrical engineering electronic engineering Germany Germany, and computers Great Britain Great Britain, and computers transistors Babbage, Charles Ampère, A. M. Armstrong, Edwin De Forest, Lee vacuum tubes Faraday, Michael Bell, Alexander Graham Crompton, R.E.B. Davy, H. Kelvin (Thomson, W.) Marconi, Guglielmo wireless communication Morse, Samuel Oersted, H.C., and electricity Ohm, G. S., and electricity telegraph, submarine Shockley, William Brattain, Walter Bardeen, John Siemens, Werner Volta, A.G., and electricity amplifiers lighting, arc telegraph, Atlantic batteries Bell Laboratories cable electricity, and cells computers, history of electricity, and dynamo General Electric Company electricity, and generators motors electricity, and oscillators electricity, and patents quantum theory radiotelegraphy Siemens and Halske Company silicon semiconductors microprocessors television integrated circuits transistors, and integrated circuits electricity, and war war, and electrical communication Westinghouse Corporation World War II World War II, and electricity World War I World War I, and electricity information theory miniaturization transistors, and miniaturization radar radio, FM radio, AM telegraphy, radio digital media general studies history history, and electricity history, and electronics materials military communication electronic media Atherton, W. A. From Compass to Computer: A History of Electrical and Electronics Engineering 29810 Atkinson, Ross The Academic Library Collection in an On-Line Environment New Directions for Higher Education
Summer, 1995
90 43-62 The author notes that librarians and administrators are being forced to "reinvent the library" in the wake of new technologies. "The old question of what constitutes a research collection remains but is transferred to a new medium." Atkinson was then associate university librarian at Cornell University, Ithaca. computers computers libraries information storage digital media education libraries, and new media libraries, and digital media archives archives, and digital technology computers and the Internet computers, and libraries libraries, and computers Atkinson, Ross The Academic Library Collection in an On-Line Environment 24570 Atkinson, Terry Home Tech: Quiet Release of Controversial "Last Temptation of Christ" Los Angeles Times
June 30, 1989
6 (Calendar) 25 This discusses the release to home video of the controversial movie, The Last Temptation of Christ (1988). Many Christian groups boycotted this film and tried also to limit video rentals by pressuring rental chains. The article notes that the video was sent to rental stores "minus any promotion or advertising." corporations values Christianity advertising, and public relations Universal Pictures propaganda advertising Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill public relations public relations, and Last Temptation Last Temptation, and public relations Last Temptation, and marketing strategies boycotts, and video Last Temptation, and video boycott Atkinson, Terry Home Tech: Quiet Release of Controversial "Last Temptation of Christ" 2990 Atkinson, W. Reay The Employment Consequences of Computers: A User View Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
345-52 See also: office The author suggests ways in which microcomputers will be employed in office work. He is guardedly optimistic about this technology's impact on employment. Atkinson, at the time of this paper, was head of the Computers, Systems and Electronics Division of the Department of Industry, London, and had twenty years of experience using computers in government administration. This paper was delivered at a seminar near Nice, France in September, 1978. computers nationalism labor computers non-USA office, and information technology information technology information processing Information Age computers and the Internet nationalism and communication Great Britain information processing, and Great Britain automation labor computers, and labor labor, and computers office, and computers office Atkinson, W. Reay The Employment Consequences of Computers: A User View 12450 Attali, Jacques Noise: The Political Economy of Music Bruits: essai sur l’économie politique de la musique 1977 Minneapolis University of Minnesota Press
1985
1977 Attali was Special Counselor to French President François Mitterrand and also a professor of economic theory at the University of Paris and at the Ecole Polytechnique. He argues in this work that music does not merely reflect society but also portends new social patterns. Music, which is the organization of noise, offers theoretical possibilities for prophesy in two interrelated ways: 1) in the manner in which noise’s violence is controlled and channeled; and 2) in the ways in which music is produced, distributed, and consumed.
Attali’s book is organized around five themes, each the subject of a chapter: Listening, Sacrificing, Representing, Repeating, and Composing. For example, the chapter on sacrifice deals with rituals in sacred societies. The chapter that follows on representation considers a stage in which the creation of music is a professional activity connected to markets. The next chapter, “Repeating,” deals with the period from the late nineteenth century when sound recording became possible, an era of unending reproduction in which live performances become secondary and it becomes essential to create demand for the material that has been recorded.
“The power to record sound was one of three essential powers of the gods in ancient societies,” Attali writes, “along with that of making war and causing famine. According to a Gaelic myth, it was precisely by opposing these three powers that King Leevellyn won legitimacy.
“Recording has always been a means of social control, a stake in politics, regardless of the available technologies. Power is no longer content to enact its legitimacy; it records and reproduces the societies it rules. Stockpiling memory, retaining history or time, distributing speech, and manipulating information has always been an attribute of civil and priestly power.... But... the reality of power belonged to he who was able to reproduce the divine word, not to he who gave it voice on a daily basis. Possessing the means of recording allows one to monitor noises, to maintain them, and to control their repetition within a determined code. In the final analysis, it allows one to impose one’s own noise and to silence others: ‘Without the loudspeaker, we would never have conquered Germany,’ wrote Hitler in 1938 in the Manual of German Radio.” class communism Marx, Karl magnetic recording preservation sound recording music communication revolution media effects media violence violence media Marxism ideology history, and new media magnetic tape law copyright communication revolution, and second industrial revolution law censorship and ratings censorship non-USA history sound recording political economy, and music Frankfurt School, and music capitalism, and music capitalism history, break with history, and music Marxism, and music critical school, and music Adorno, Theodor France, and music France, and sound recording class, and music copyright, and music advertising, and music second industrial revolution ideology, and music phonograph phonograph records sound recording, and phonograph records sound recording, and power sound recording, and subversion radio radio, and music sound recording, and magnetic tape magnetic tape recording history, and sound recording sound recording, and history violence, and media media, and violence violence, and music music, and violence violence, and sound recording sound recording, and violence values, and music censorship, and music public address systems, and Hitler values history France communication revolution Frankfurt School political economy public address systems advertising advertising and public relations Attali, Jacques Bruits: essai sur l’économie politique de la musique 10180 Attali, Jacques and Yves Stourdze The Birth of the Telephone and Economic Crisis: The Slow Death of Monologue in French Society Ithiel de Sola Pool, ed The Social Impact of the Telephone Cambridge, MA MIT Press
1977
97-111 The authors argue that in France, where society was based on social hierarchy, the French did not embrace the telephone's person-to-person technology, and local authorities who were most interested in protecting their own power did little to promote the spread of telephony. “Can it be that the French State is only now discovering the sorry state of the telephone situation that it created by sacrificing telephone development for many decades on the alter of communication networks run by and for the local power holders? It probably means that the French State was willing to begin promoting the telephone only when industrial interests became prominent in economic and social relationships.” nationalism community democracy non-USA telephones France, and telephones democracy and media nationalism and communication France Attali, Jacques and Yves Stourdze The Birth of the Telephone and Economic Crisis: The Slow Death of Monologue in French Society 13680 Attorney General of the United States Proceedings of the Attorney General's Conference on Crime, Held December 10-13, 1934 Dec. 10-13, 1934 Washington, D.C. [Government Printing Office?]
[1934?]
Contains Mortimer J. Adler's testimony on causes of crime. Adler, and others, doubted that motion pictures were a leading cause of crime. government reports government hearings motion pictures government Adler, Mortimer motion pictures and popular culture motion pictures motion pictures, and crime government documents hearings proceedings Attorney General of the United States Proceedings of the Attorney General's Conference on Crime, Held December 10-13, 1934 1250 Attorney General's Commission on Pornography Final Report of the Attorney General's Commission on Pornography Nashville, TN Rutledge Hill Press
1986
Members of the Meese Commission argued that there had been major changes in communication technology since the publication of the 1970 Report of the Commission on Obscenity and Pornography (started during the Lyndon B. Johnson administration). These changes made pornography much more available in the home. (The Meese Commission also argued that pornography had become much more pervasive and violent.) Cable television and satellite broadcasts, not regulated by the Federal Communications Commission (FCC), were broadcasting sexually explicit films. Many X-rated movie theaters were closing because video cassette recorders were becoming increasingly commonplace. By 1986, 38 percent of American homes had at least one VCR. Videos, McManus also noted, were cheaper to produce than films. Dial-A-Porn, a new form of pornography, had become available in large volume and was often accessible to children.
The Commission defined pornography to mean “only that ... material is predominantly sexually explicit and intended primarily for the purpose of sexual arousal.” The Commission often used the term often interchangeably with “sexual materials.” It divided pornography into several categories from violent and degrading to nonviolent and non-degrading. It argued that a causal link existed especially between violent and degrading pornography and real-world violence against women. Critics attacked the Commission arguing that it drew conclusions not supported by empirical research. Critics also charged that the Commission members, many who had come from law enforcement and appointed by the Reagan administration, had an agenda that supported censorship and encouraged vigilanteeism. The Commission did make more than ninety recommendations on how to combat pornography. Some critics also launched a public relations campaign to discredit the Commission's findings.
--SV

In 1986 the Attorney General’s Commission on Pornography released a comprehensive body of work examining the issue of pornography on a number of levels. This report provides many modes of analysis of pornography’s impact on society through the use of scientific research examining the content and effects of pornography, as well as testimonials from individual users as well as those involved in the industry. It is through the use of the personal testimonies and social science research evidence that the report is at its strongest. Oftentimes research presents somewhat of a detached view of human behavior, quantifying those behaviors for ease of analysis. The testimonies serve to flesh out the scientific research giving it more of a human side. As a word of caution, however, the testimonies are often quite graphic. This report is a useful guide to the issue of pornography in society regarding its harms, its legality, its ties to obscenity, as well as its ties to organized crime. Additionally, it gives the reader a good understanding of the research on pornography and its effects, on individuals and society, prior to 1985. There is no doubt, however, that this report spawned a bevy of research on pornography, a boom that has resurfaced with the increasing prominence of the Internet.
--Michael Boyle

The Final Report of the Attorney General’s Commission on Pornography was written in 1986, about a decade after the “golden age of pornography” that began in the early 1970s, with the popularity of Deep Throat. In fact testimony from Deep Throat’s star Linda Lovelace (real name Boreman) is featured in the book. She claims that every time someone watches the movie they are watching her being raped. The report is divided into five main sections: Overview and Analysis of Commission Findings, Law Enforcement Recommendations, Pornography and Society, The Commissioners, and Reference Material.
The report begins with a brief history of pornography from ancient Greece to the 1980s, as well as a history of obscenity law. It is important to study pornography from a social and historical standpoint instead of just from a legal standpoint, say the authors of the report. This first section also details the various media that pornography is available in. Because it was written before the Internet was in popular use, the focus is on film and video pornography and sexuality on TV.
The second section focuses on recommendations for the regulation of pornography, some of which were put into place (required documentation of the ages of porn performers) and some which were not (regulation of cable and satellite TV by the FCC).
Pornography and society, the third section of the report, details the human side of porn and its effects on the individuals in pornography as well as those who have viewed it. This section focuses mainly on the negative effects and exaggerates these effects through the use of victim testimony from Playboy bunnies, Linda Lovelace, and Andrea Dworkin, among others. In addition this section synthesizes the academic research on pornography and provides a section on why some of this research may not be reliable (the types of people who would participate in sexual studies may skew data).
In addition, there is a chapter on the pornography industry’s ties to organized crime; and, a chapter on what concerned citizens can do to protest pornography. This chapter was, not surprisingly, criticized by the pornography industry. Also, there is a chapter that details the workings of adult stores, their product lines, and the look of their storefronts. This section also focuses on sexual devices, such as dildos, and the largest sexual device manufacturer, Doc Johnson. In addition, there is a 37-page list of several of the titles of pornographic magazines, films, and videos found in the 16 adult only stores that the commission studied
Overall, this is a comprehensive study of the pornography industry that is biased against the pornography industry. University researchers need to update this study with less bias.
--Hallie Lieberman Motion Picture Association of America (MPAA) entertainment computers Classification and Rating Administration video cassette recorders (VCRs) MPAA post office government hearings entertainment, home CARA Classification and Rating Administration (CARA) magnetic recording photography National Association of Theatre Owners (NATO) women, and new media social science research values archives sexuality NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA news and journalism books, periodicals, newspapers magazines satellites home entertainment government magnetic tape First Amendment computers and the Internet color freedom values religion censorship and ratings law cable home home, and new media home Meese Commission motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects media effects, and pornography pornography, and media effects pornography, defined children media effects, and children children, and pornography pornography, and children women women, and pornography pornography, and women religion, and pornography pornography, and religion personal computers personal computers, and pornography media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment hearings Zillmann, Dolf Donnerstein, Edward Malamuth, Neil Court, J. H. Valenti, Jack Valenti, Jack, and pornography MPAA, and pornography Valenti, Jack, and Meese Commission Boyle, Michael pornography sexuality Lieberman, Hallie children, and media Attorney General's Commission on Pornography Final Report of the Attorney General's Commission on Pornography 20250 Attorney General's Commission on Pornography Records of the Attorney General's Commission on Pornography
1985-1986
RG 60 (Justice Dept. Records), 1,2, 3, 4, 30, 31, 55, 56, 57, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 77A, 80 See also: violence See also: sexuality This collection is informative on the Meese Commission. The testimony of witnesses, much of it never published, is here, as are the dliberations of the Commission's members. Much of the source material for the drafts in Boxes 55-57 appears to come from heaings held by the Commission in such cities as Houston, Los Angeles, New York, Chicago, and Washington. Testimony of Jack Valenti, researchers, and others as well as discussions among commissioners are in Boxes 1-4, RG 60. These records are at National Archives and Records Administration (NARA 2), College Park, MD. Maryland -- College Park -- National Archives II Motion Picture Association of America (MPAA) entertainment computers Classification and Rating Administration video cassette recorders (VCRs) MPAA post office government hearings entertainment, home CARA Classification and Rating Administration (CARA) magnetic recording photography National Association of Theatre Owners (NATO) social science research archives sexuality NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects news and journalism books, periodicals, newspapers magazines satellites home entertainment government magnetic tape First Amendment computers and the Internet color freedom law cable home home, and new media home Meese Commission motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment hearings Zillmann, Dolf Donnerstein, Edward Malamuth, Neil Court, J. H. Valenti, Jack Valenti, Jack, and pornography MPAA, and pornography Attorney General's Commission on Pornography Records of the Attorney General's Commission on Pornography 42120 Auerbach, Jonathan McKinley at Home: How Early American Cinema Made News American Quarterly
Dec. 1999
51 4 797-832 This article examines early newsreel footage of President William McKinley between 1896 and 1901. He discusses the 1896 campaign film McKinley at Home, the coverage of the State funeral after the president's assassination in Buffalo in 1901, and The Execution of Czolgosz which dealt with McKinley's assassin. The author argues that such "early cinema significantly altered Americans' understanding of the relation between public and private." (798) The articles also discusses the role of moving pictures as "visual newspapers" (815) during the Spanish-American War. (814-16) "Seeing the news," Auerbach maintains that thinking of a film as a "visual newspaper" (a term borrowed from Charles Musser) needs to be set into a historical context to understand how "seeing the news on screen" differed from "reading it in print." (799) Cinema had the capacity of make national news, and also to break down barriers between privacy and publicity. Conceptually, Auerbach draws on theorists from the Frankfurt School, and such writers as Tom Gunning, Harold Innis, Juergen Habermas, Charles Musser. history surveillance seeing at a distance law, and privacy law preservation newspapers postmodernism modernism modernism modernity modernism journalism history, and new media community democracy news and journalism visual communication privacy news news modernity history motion pictures democracy and media public sphere new way of seeing history, and motion pictures visual v. print media news, and motion pictures newsreels presidents, and new media McKinley, William privacy, and motion pictures modernity, and motion pictures motion pictures, and news newspapers, and motion pictures visual culture presidents, and new media McKinley, William, and motion pictures news and journalism privacy privacy, and journalism journalism, and privacy McKinley, William, and photography motion pictures, and William McKinley McKinley, William photography, and William McKinley motion pictures, as visual newspapers journalism, and motion pictures Frankfurt School, and motion pictures motion pictures, and Frankfurt School media effects McKinley, William, and assassination Frankfurt School photography Auerbach, Jonathan McKinley at Home: How Early American Cinema Made News 42590 Augustus The Paris Exposition -- V New York Observer and Chronicle
Nov. 8, 1900
78 45 577-78 This article reports on the Paris Exposition in 1900, and notes the use of electricity. For many people, electricity appeared to be something exotic and often akin to magic. [At the Palace of Illusion at Paris Exposition , this article says, a combination of “electricity and mirrors” revived the Arabian nights for a thousand people at a time." There was "a Mareorama by means of which passengers travel throughout the Mediterranean with the sights and sounds of the sea, as well as the illusion of entering the harbors of Constantinople, Naples, Venice, and other cities...." (578) spectacles progress electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity non-USA France France, and color France, and electricity non-USA, and color non-USA, and electricity color, and world fairs electricity, and world fairs color, and progress electricity, and progress progress, and electricity progress, and color color, and Paris Exposition electricity, and Paris Exposition World's Fairs Paris Exposition (1900) panoramas panoramas, and Paris Exposition motion pictures, and Paris Exposition Paris Exposition, and motion pictures Paris Exposition, and panoramas spectacles, and Paris Exposition theater theater, and Paris Exposition travel motion pictures, and travel travel, and panoramas travel, and World's Fairs travel, and Paris Exposition motion pictures transportation Augustus The Paris Exposition -- V 2690 Austen, Ian A Galaxy Far, Far Away Is Becoming Fully Digital New York Times
May 25, 2000
D D8 This article reports that "when Star Wars: Episode II starts production next month in Australia it will be the first major motion picture created mostly using high-resolution digital videotape rather than film." motion pictures digital media digital cinema digital cinema digitization motion pictures and popular culture digital movies digital media, and motion pictures motion pictures, and digital videotape digital media, and Star Wars: Episode II Austen, Ian A Galaxy Far, Far Away Is Becoming Fully Digital 22490 Austin, Charles Bishops in Plea Against Smut New York Times
May 25, 1983
A 19A See also: media See also: violence See also: sexuality This article notes that almost "100 Roman Catholic bishops have written to President Reagan in the last month to ask that a Federal coordinator be named to monitor enforcement of obscenity laws, according to Morality in Media, an interfaith organization concerned with pornography."/ conservatives values Christianity Reagan, Ronald presidents, and new media Reagan administration values sexuality sexuality nudity motion pictures religion values morality mass media media effects crime values religion law censorship and ratings censorship Catholic Church pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography Reagan, Ronald, and nudity nudity, and Ronald Reagan Reagan, Ronald, and pornography Reagan, Ronald, and secular humanism Reagan, Ronald, and liberalism pornography, and evangelicals evangelicals, and pornography religion, and pornography pornography, and religion Reagan, Ronald, and religion Catholics, and pornography pornography, and Catholics critics values Morality in Media Austin, Charles Bishops in Plea Against Smut 33260 Axelrod, Alan Selling the Great War: The Making of American Propaganda New York Palgrave Macmillan
2009
The author has discovered that the propaganda work of George Creel and the Committee on Public Information during World War I has renewed relevance in context of the Iraq War during the George W. Bush administration (2001-09). Axelrod contends that "Creel is little remembered outside of academic circles of historians and students of culture and media." (xi) He draws on Creel's writings and relies heavily on James Mock and Cedric Larson's 70-year-old book, Words That War the War. Little additional, more recent, scholarship on this topic was apparently consulted. war propaganda World War I Creel, George Committee on Public Information propaganda, and Committee on Public Information propaganda, and World War I propaganda, and George Creel nationalism and communication propaganda, and nationalism nationalism, and propaganda advertising and public relations propaganda, and advertising advertising, and propaganda advertising nationalism Axelrod, Alan Selling the Great War: The Making of American Propaganda 3330 Ayres, Robert and Steve Miller Industrial Robots on the Line Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
273-83 See also: office As the use of robots increases, the authors (then at Carnegie-Mellon University) discuss the current uses of them and their future potential. The authors urge cooperation between unions, employers, and the government to lessen transition problems. This article first appeared in Technology Review (May-June 1982). computers robotics labor information technology computers and the Internet automation robots labor, and automation artificial intelligence and biotechnology information technology, and industry labor labor, and artificial intelligence artificial intelligence, and labor Ayres, Robert and Steve Miller Industrial Robots on the Line 6500 Ayrton, William E. and John J. Perry Seeing by Electricity Nature
April 22, 1880
7 589 seeing at a distance modernism future and science fiction television, and history of new way of seeing television television, and origins future seeing at a distance electricity electricity, and seeing by new way of seeing, and electricity Ayrton, William E. and John J. Perry Seeing by Electricity 38410 Ayscough, John Picture Teaching American Catholic Quarterly Review
Jan. 1914
39 153 99-109 The author laments the relatively recent spread of newspapers and novels with un-Catholic or anti-Catholic themes but warns of an even more recent development, the movies. The movies, he says, should be easier to censor than novels (which are bought in private) because they are public.
"The great importance of novels in the modern world is, I believe, a thing that must be now recognized: the great importance of the press has been fully recognized by the highest ecclesiastical authorities, more than recognized -- strenuously insisted upon. But the importance to which newspapers and novels have attained is comparatively recent, and, unfortunately is principally due to the fact that they are immeasurably more read than any other printed matter. That fact I, for one, deplore; nevertheless it cannot be ignored. Hence the enormous importance of trying to provide a Catholic press that shall really rival in attraction that which is not only non-Catholic, but un-Catholic, and to provide the huge body of fiction readers with novels, tales, romances, etc., which shall be at least harmless to Catholic readers, and shall not be obnoxious to the many great objections that the mass of non-Catholic current fiction may be accused of. But there is another sphere of influence, of absolutely recent growth and of daily increasing extension.
"Quite young people must remember the time when picture shows were of no importance; people who are scarcely middle-aged can remember a time when such shows did not exist at all. Already any considerable town in the 'civilized' world is full of them, and even in the smaller towns and in villages they are seen and will soon be more and more seen. Villagers crowd into the towns near to them to see these shows: and we are told that as much money is spent in seeing them as used to be spent on drink. Probably that statement is short of the truth, for thousands of decent and quiet folk, who never did spend much of their wages in drink, see no objection to buying this easy form of recreation." (99)
The author expresses alarm over the great hold that movies have on millions of people and not that many youth who do not "read even the most morbidly sensational newspapers" attend the movies regularly. (100) After explaining his objections to modern literature and film, the author asks "Can anything be done?" (105) "We cannot, of course, hope to monopolize the picture teaching of the world, but we can try to get our share of it, to enlarge our share industriously everywhere to get hold of this weapon also, and make it more and more operative in our hands. Nor would it appear that such an enterprise would be either so difficult or so costly as the other enterprise -- of opposing a Catholic press to a non-Catholic or anti-Catholic press...." (106)
The author calls for mobilizing public opinion on the side of "what is wholesome and of good repute as any official censorship is ever likely to exercise" to opposed "the ideas of crime, violence and low standards as to marriage." (109)
"It would be cowardly and indolent to do nothing because it might seem hopeless to succeed everywhere and altogether. No vigilance committees have secured the total suppression of vice anywhere; they can but do their best, and their best is better than nothing. No censorship has ever put down all immoral books, but many immoral books are suppressed, and to suppress objectionable picture shows is less difficult than to destroy an evil book, because they work in public and the worst books can only be sold in secret; indeed, it may almost be said that the worst books are only sold to them who are at pains to seek them out. Nor is local effort very powerful against a book that is objectionable, but local effort could be made almost omnipotent against an objectionable picture show." (109) children censorship words vs. images motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings images vs. words values religion motion pictures, and values motion pictures, and religion religion, and motion pictures values, and motion pictures motion pictures, and Catholics Catholics, and motion pictures education education, and motion pictures motion pictures, and education children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children modernity modernity, and motion pictures motion pictures, and modernity new way of seeing modernity, and religion religion, and modernity Catholics, and modernity modernity, and Catholics newspapers, and religion religion, and newspapers motion pictures vs. liquor Catholic Church news and journalism Ayscough, John Picture Teaching 21080 Bach, Steven Final Cut: Dreams and Disaster in the Making of Heaven's Gate New York William Morrow and Company, Inc.
1985
Bach was vice president for East Coast and European production during the making of Heaven's Gate. The story details the disastrous story of this film. No United Artist executive had seen the final print of this movie before it opened. The movie sank United Artists which virtually ceased to exist afterward. There is material in this book that discusses the motion picture rating system, particularly as it applied to Woody Allen's movie Manhattan. There is also some information on Arthur Krim, who headed United Artists from 1951 to 1978, and who later became chair of Orion Productions. Classification and Rating Administration classification corporations self-regulation corporations corporations Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures Heffner, Richard rating system (U. S.), and Manhattan rating system (U. S.), and appeals process Krim, Arthur United Artists Orion Productions CARA, and appeals process Heffner, Richard, and Manhattan CARA corporations Bach, Steven Final Cut: Dreams and Disaster in the Making of Heaven's Gate 5430 Bachman, W. S. B. B. Bauer and P. C. Goldmark Disk Recording and Reproduction H. E. Roys, ed. Disc Recording and Reproduction Stroudsburg, PA Dowden, Hutchingon [sic] & Ross, Inc.
1978
9-15 This article is a historical survey of sound recording, and discusses such men as Edison, Berliner, Bell, and Tainter. It covers major developments in disc recording up to 1962. The work also has a useful list of references on this topic. The articles originally appeared in IRE Proceedings, 50 (May, 1962), 738-44 (copyrighted by the Institute of Electrical and Electronics Engineers, Inc.). CDs tape recording, magnetic magnetic recording tape recording sound recording materials materials tape recorders recording tape recording music phonograph sound, and music sound, and discs sound, and records sound, and history of phonograph Edison, Thomas Bell, Alexander Graham Berliner, Emile gramophone phonograph, and automobile (1955) sound, and high fidelity sound, and LP records sound dictating machines sound, and dictating machines sound, and books books, and sound recording bibliographies, and sound recording books bibliographies recording books, periodicals, newspapers Bachman, W. S. B. B. Bauer and P. C. Goldmark Disk Recording and Reproduction 39420 Baehr, Harry W. Jr. The New York Tribune since the Civil War New York Dodd, Mead & Company
1936
In this history of the New York Tribune, the author recounts how this publication became the first to reproduce halftone photographs in its daily paper. Baehr writes: "Line cuts were used frequently after 1883; a daily political carton by Leon Barrett began on July 10, 1899, and on January 21, 1897, a portrait of Thomas Collier Platt marked the first use of the half-tone process for photographic reproduction in a daily newspaper. This innovation resulted from the experiments of Stephen H. Horgan, a former art direct on the [NY] Herald. Horgan had submitted his idea to the younger [James Gordon] Bennett, [Jr.] who, after seeking expert advice, was convinced that the notion of applying half-tone screens to the curved stereotypeplates was impractical. This shook his confidence in his art director and Horgan was presently out of a job. He applied to [Whitelaw] Reid with better success, and a fine facsimile of Platt's foxy features eventuated." (235)
The author also discusses Sunday supplements. "'Sunday Supplements,' in the modern sense, first appeared in the Tribune of November 8, 1896, in the form a of a 'serio-comic Weekly' called Twinkles. This was a curious melange of 16 pages of glazed stock, headed by a colored political cartoon. An 'editorial' explained the cartoon, in rather English fashion, and the rest of the supplement was composed of comic cartoons and articles, photographs of social lights, and political comment in the lighter vein. Twinkles had a short life, being succeeded on May 30, 1897, by a regular Illustrated Supplement of more conven- 235/236 tional form -- feature articles, illustrated by line cuts and photographs, with a few jokes, usually scissored from humorous publications. In this form the Supplement ran on until it was replaced by the Sunday Magazine." (235-36)
The author also notes that "The Only Woman's Page" appeared in the Tribune around 1896. wood engraving presses personality journalism fame magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving photography, and presses presses, and newspaper photography newspapers, and photography (origins) photography, and New York Tribune Horgan, Stephen half tones, and Stephen Horgan Sunday newspapers newspapers, and Sunday newspapers color color, and newspapers newspapers, and color color, and yellow journalism yellow journalism women women, and woman's page celebrity Baehr, Harry W. Jr. The New York Tribune since the Civil War 10 Baer, Walter S. Information Technologies in the Home Bruce Guile, ed. Information Technologies and Social Transformation Washington, D.C. National Academy Press
1985
123-53 This volume is in the National Academy of Engineering's Series on Technology and Social Priorities. Bruce R. Guile is editor of this volume. Photocopy filed under "Guile, Bruce." entertainment entertainment, home home, and new media home home, and information technology information technology general studies information technology, and home home, and new media home entertainment Baer, Walter S. Information Technologies in the Home 20 Bagdikian, Ben H. The Information Machines: Their Impact on Men and the Media New York Harper & Row
1971
In 1971 Bagdikian wrote: “Today we are on the threshold of a change in human communications more powerful than our innocent introduction to electronic pictures in 1927, perhaps more significant than all past changes in the technology of information. The way men deal with each other and with the distant world is about to be transformed by a combination of the computer, innovations in the transmission of signals, and new ways to feed images into this system and to take them out.”
Bagdikian focuses “on what the content of daily information will be, what form it will be delivered in, and how it will be distributed throughout the population.”
He believed in 1971 that a major change had already occurred. Everyone now had virtually instant access to the news. “In this generation, for the first time in the history of any large nation, the potential audience for news had become almost the total population,” he wrote . “Television and the ubiquitous car and transistor radios, plus the telephone to provide quick secondhand reporting, means that for the first time in history something approaching the total population of a society is in instantaneous contact with urgent global – and extra-global – developments.” computers transistors preservation communication revolution journalism history, and new media community democracy news and journalism history general studies communication revolution computers information age critics democracy and media history, break with computers news, and new media television radio radio, and transistors transistor radios, and news news, and television television, and news news, and radio news computers and the Internet Bagdikian, Ben H. The Information Machines: Their Impact on Men and the Media 9180 Bagdikian, Ben H. The Media Monopoly Boston Beacon Press
1983, 1997
Bagdikian argues that monopoly control of the media has allowed corporations to dictate what U.S. citizens receive as news and information. This concentration of corporate control has suppressed news and information that would reflect poorly on those corporations, big business in general and government policy written to favor big business. He asserts that media owners are pushing a pro-business news agenda.
--Phil Glende
 Ben Bagdikian’s book has become a standard reference for any scholar interested in studying the economics of media ownership and the implications for a democratic society. Now in the fifth edition, this book documents the increasing concentration of ownership by a handful of multinational corporations. Its particular focus is the chain newspaper and the way in which news is prepared and disseminated by them. He uses the introduction to note that the largest newspaper chain at the time was fifty-six times larger than the largest chain at the time of the first edition. This new edition is updated to include material on the Internet and other elements of the Information Age.
To Bagdikian, the importance of monitoring the increasing concentration of ownership goes beyond financial or statistical interest. He believes that the American democratic system is at stake. These media corporations have the power to alter the political agenda of the country and exert influence over both voters and political leaders. Because of their capitalist nature, Bagdikian argues that these businesses shape economic and political debates to their own financial advantage. News is not presented to inform, but to sell an image and increase profits.
Bagdikian believes that the democratic process works best when a wide range of voices and opinions are available. In his view, the media monopoly artificially constricts the range of debate, presents the public with inaccurate information, and ultimately erodes democratic freedoms. Serious concerns are played down while advertising and trivial entertainment fills the newspaper each day. He also argues that corporate absentee ownership, rapidly taking the place of local ownership, disrupts the relationship between communities and their government. The book contains a wealth of examples of biased or incomplete coverage of news stories, along with an examination of the way in which advertising concerns shape this coverage. Bagdikian sees little chance for the Internet to break down this system. As it becomes more commercial, the most popular and widely used web sites are owned and maintained by the same corporate powers that own the other media outlets.
The final chapter of the book lists a series of actions that would address many of these problems. Bagdikian does not argue against commercial control of the media. Instead, he proposes stronger governmental regulation of media ownership and a tax on national mass advertising. He urges journalists and media managers alike to strengthen the wall between objective news content and corporate business interests. Finally, he asks for greater public awareness and interest in the problem. Political leaders are still willing to listen to the voice of the people.
--Rob Rabe computers corporations corporations, multinational newspapers journalism community democracy law news and journalism non-USA regulation news political economy multinational corporations news, and media monopoly political economy global communication democracy and media critics capitalism, and news capitalism, and mass media Glende, Phil Rabe, Rob computers and the Internet regulation, and media ownership regulation, and advertising capitalism news, and capitalism newspapers, and monopoly newspaper chains news, and advertising news, and entertainment censorship and ratings Bagdikian, Ben H. The Media Monopoly 7530 Bagley, J. A. Aeronautics Ian McNeil, ed. An Encyclopedia of the History of Technology London and New York Routledge
1990
609-47 An introduction to major developments. aeronautics and space communication air travel satellites transportation Bagley, J. A. Aeronautics 7710 Bagrit, Sir Leon The Age of Automation: The BBC Reith Lectures, 1964 London Weidenfeld and Nicolson
1965
Born in the Ukraine, Bagrit came to London at age 12 at the outbreak of World War I. He became an authority on automation and maintained that the mechanization of the industrial revolution should not be confused with the automation of the mid-20th century. “Automation is not a devil, a Frankenstein,” he said. “It is no more than a tool, but a tool of such immense possibilities that no one can yet see the full extent of what it might achieve for mankind.” In these lectures, he argued that whereas mechanization had “sometimes given millions of people sub-human work to do,” automation would do “the exact opposite.” He predicted that some day, people would carry computers that were the size of transistor radios.
These lectures might be read in conjunction with an interview Bagrit gave to Clyde H. Farnsworth of the New York Times (March 17, 1965, p. 66). There he said that automation represented “the greatest change in the whole history of humankind.” It was a process that would change life so dramatically that within a few decades the pre-1960 world would “seem as rural as England before the Industrial Revolution.” (Farnsworth paraphrasing Bagrit) computers preservation communication revolution history, and new media communication revolution, and second industrial revolution non-USA history history Great Britain computers and the Internet artificial intelligence and biotechnology computers, personal automation computers, and automation second industrial revolution history, break with Great Britain Great Britain, and computers Great Britain, and automation Bagrit, Leon computers communication revolution labor Bagrit, Sir Leon The Age of Automation: The BBC Reith Lectures, 1964 7720 Bailey, James After Thought: The Computer Challenge to Human Intelligence New York Basic Books
1997
This book deals with the way in which computers change the way we assimilate knowledge and conduct research. Massive changes are in store, Bailey suggests. Bailey argues that computers are poised to supplant human beings in the evolutionary process. What he calls “bit evolution” is a third evolutionary phase, following upon the original genetic evolution, which was followed by the much more rapid cultural evolution sped along by the printing press and other modes of mass communication. Something Bailey terms “intermaths” will correlate to newly relevant data as the now outdated geometry and calculus did in their own time. Computers are already vital organisms, Bailey maintains, and the better part of human wisdom is simply to stand back and give them ample room to evolve as they will. The book, which uses primarily secondary sources, is something of a history of human knowledge as it has been manifested through numbers.
--Gordon Jackson
 computers computers Information Age computers and the Internet artificial intelligence and biotechnology computers, personal information processing computers, and research Jackson, Gordon Bailey, James After Thought: The Computer Challenge to Human Intelligence 26110 Bailey, John Film or Digital? Don't Fight. Coexist New York Times
Feb. 18, 2001
2 (Arts and Leisure) 9, 20 This article explains how digital movies work and considers their relationship to traditional, non-digital film making. entertainment computers entertainment, home photography projection motion pictures home entertainment digital media digital cinema digital movies digital cinema digitization computers 35mm home, and new media home motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies photography and visual communication photography, and digital movies digital technology digial movies, how they work 35mm film 35mm film, and digital movies digital movies, and 35mm film projectors, digital projectors, digital movie computers and the Internet computers, and digital movies digital movies, and computers virtual reality virtual reality, and digital movies digital movies, and virtual reality Bailey, John Film or Digital? Don't Fight. Coexist 28960 Bailyn, Bernard// John B. Hench, eds. The Press and the American Revolution Worcester, MA American Antiquarian Society
1980
This collection of eight essays on various aspects of the colonial and revolutionary press remains the most useful source of information for historians studying the development of newspapers during this crucial period. American newspapers changed dramatically in their content and purpose in the years before the war and played a key role in informing early Americans about news and events, mobilizing and maintaining public opinion, and helping give shape to a budding American nationalism. The newspaper that emerged in the 1780s would no longer be an a-political commercial sheet run by an artisan printer, but would instead become an actor on the political stage. One strength of the collection is the inclusion of essays on less common topics, like the loyalist press, newspapers of the southern colonies and the German-language press of the day. These selections help broaden the normal scholarly focus on the New England area patriot printers. The book also contains a collection of statistical tables and charts, explained clearly in an essay by G. Thomas Tanselle, that gives a numerical sense of early publishing.
Two of the essays stand out as most insightful. First is Stephen Botein’s “Printers and the American Revolution,” which details the growing political orientation of the press. Events like the Stamp Act in 1765 and the rising factionalism of public opinion forced printers to take a stand on the question of independence, however reluctantly. As printers became politicized, newspapers began to play a greater role in the movement for independence (or the loyalist cause in some instances). Printers saw themselves as public servants, deserving of strong safeguards of press liberty. The essay “Freedom of the Press in Revolutionary America,” by Richard Buell, Jr., is a valuable contribution to the study of the emergence of press freedom in the Unites States. Americans, Buell argues, understood press freedom in a way that seems contradictory only in retrospect. The Sedition Act, for example, was not seen as necessarily at odds with the first amendment as it clearly does to us today. The revolutionary experience left Americans deeply committed to preserving press freedom for legitimate political dialog and information, but also deeply worried about its potential for misuse.

-- Rob Rabe nationalism Rabe, Rob books, periodicals, newspapers print culture printers, and American Revolution American Revolution, and printers newspapers, and American Revolution American Revolution, and newspapers news and journalism nationalism and communication nationalism, and newspapers newspapers, and nationalism newspapers news print Bailyn, Bernard// John B. Hench, eds. The Press and the American Revolution 6510 Baird, John Logie Television, or Seeing by Wireless Discovery
April 1925
6 142-43 radio television, and history of television wireless communication seeing at a distance wireless, seeing by television, and origins Baird, John Logie Television, or Seeing by Wireless 7540 Baker, David The Shape of Wars to Come New York Stein and Day
1981, 1982
Chapter two (“Orbital Eyes: Reconnaissance from space”), and some pages from the next chapter (“Soviet Ploy”) have good, basic information about the various stages of satellite reconnaissance during the 1960s, and how this technology dramatically changed what was known of the USSR and more generally of our planet. USSR nationalism photography war non-USA reconnaissance aeronautics and space communication satellites reconnaissance, satellite satellites, and reconnaissance Soviet Union Cold War photography and visual communication rocketry nationalism and communication military communication Baker, David The Shape of Wars to Come 2450 Baker, Nicholson Double Fold: Libraries and the Assault on Paper New York Random House
2001
Baker warns about the destruction of paper records, newspapers, "book wastage and mutiliation." One wave came with microfilming. Another, just starting, he maintains, is digital recording keeping. Baker laments the wholesale destruction of old newspapers. The book's title comes from a test employed by librarians on paper "in which they folded the corner of a page back and forth until it broke." Brittle records were scheduled for destruction. This book has a excellent bibliography. Library of Congress history and new media preservation microfiche, microfilm, microform libraries archives materials non-USA information storage libraries, and new media paper libraries, and paper information storage, and new media information storage, and paper preservation, and paper preservation, and new media microfilm libraries, and microfilm libraries, and microform preservation, and microfilm preservation, and digital media information storage, and digital media bibliographies, and preservation preservation, and bibliography books, periodicals, newspapers newspapers, and preservation preservation, and newspapers books, and preservation preservation, and books Great Britain Great Britain, and preservation preservation, and Great Britain preservation, and Library of Congress Library of Congress, and preservation paper archives, and paper paper, and archives paper, and libraries critics archives bibliographies books newspapers materials news news and journalism history Baker, Nicholson Double Fold: Libraries and the Assault on Paper 39830 Baker, Ray Stannard Peter Cooper Hewitt -- Inventor: Three Great Achievements in Electrical Science McClure's Magazine
June 1903
21 2 172-78 Ray Stannard Baker discusses three inventions by Peter Cooper Hewitt: 1) a new electric lamp or vacuum lamp; 2) a new, inexpensive way of converting alternating currents into direct electrical current; and 3) "an electric interrupter or valve" which is significant for wireless telegraphy.
As for the vacuum lamp, Baker says that the "light was different from anything ever seen before, grateful to the eyes, much like daylight, only giving the face a curious, pale-green, unearthly appearance. The cause of this phenomenon was soon evident; the 172/173 tubes were seen to give forth all the rays except red, -- orange, yellow, green, blue, violet -- so that under its illumination the room and the street without, the faces of the spectators, the clothing of the women lost all their shades of red; indeed, changing the very face of the world to a pale green-blue.... Here was an entirely new sort of electric light. The familiar incandescent lamp, the invention of Thomas A. Edison, though the best of all methods of illumination, is also the most expensive. Mr. Hewitt's lamp, though not yet adapted to all the purposes of its peculiar color, produces eight times as much light with the same amount of power. It is also practically indestructible, there being no filament to burn out; and it requires no special wiring. By means of this invention electricity, instead of being the most costly means of illumination, becomes the cheapest -- cheaper even than kerosene. No further explanation than this is necessary to show the enormous importance of this invention." (172-73) An advantage of this lamp over Edison's light is that it is much cooler. "The waste of power in the incandescent lamp is known to be due largely to the conversion of a considerable part of the electricity used into useless heat. An electric lamp bulb feels hot to the hand. It was therefore necessary to produce a cool light; that is, a light in which the energy was converted wholly or largely into light rays and not into heat rays." (175) Hewitt discovered the uses of mercury vapor and that "when once the high resistance of the cold mercury was overcome, a very much less powerful current found ready passage and produced a very brilliant light: the glow of the mercury vapor." ((176)(emphasis in original text)
Baker discusses the problems associated with the absence of red light rays which gave "a very strange impression of a redless world." (176) He notes that Hewitt was hoping to use red rays "thereby producing a pure white light." (176) The new lamp, though, appeared to "have a peculiar and stimulating effect on plant growth." (176)
Regarding the conversion of ac to dc, Baker says that the "chief pursuit of science and invention in this day of wonders is the electrical conquest of the world, the introduction of the electrical age. The electric motor is driving out the steam locomotive, the electric light is superseding gas and kerosene, the waterfall must soon take the place of coal." (173)
Baker considered the electric interrupter or value the "most wonderful" of these three inventions. (173) It can "be called the enacting clause of wireless telegraphy," he writes. (174) This invention promises to improved on the method of sending messages across the Atlantic used by Marconi. (177) "'What I have done,' said Mr. Hewitt, 'is to perfect a device by means of which messages can be sent rapidly and without the loss of current occasioned by the spark gap. In wireless telegraphy the trouble has been that it was difficult to keep the sending and the receiving instruments attuned. By the use of my interrupter this can be accomplished.'" (178)
Baker concludes by saying that "the possibilities of the mercury tube, indeed of incandescent gas tubes in general, have by no means been exhausted. A new door has been opened to investigators, and no one knows what science will find in the treasure-house-- perhaps new and more wonderful inventions, perhaps the very secret of electricity itself...." (178) words vs. images electricity modernity modernity, and electricity electricity, and modernity new way of seeing images vs. words lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor Cooper Hewitt lighting color, and lighting lighting, and color Cooper Hewitt lighting, and color color, and Cooper Hewitt lighting telegraph telegraph, and wireless wireless telegraphy electricity, and cool light lighting, and cool light Cooper Hewitt, Peter metaphors metaphors, and new door opened color wireless communication Baker, Ray Stannard Peter Cooper Hewitt -- Inventor: Three Great Achievements in Electrical Science 20010 Baker, Robert K.// Sandra J. Ball Mass Media and Violence. Volume IX. A Report to the National Commission on the Causes and Prevention of Violence Washington, D. C. Government Printing Office
1969
9 9 This Report to the National Commission on the Causes and Prevention of Violence in 1969 provides information about research on the effects of television violence. At that time, there were relatively few empirical studies on this topic -- something that would change dramatically during the 1970s as numerous researchers began to study this problem. Motion Picture Association of America (MPAA) MPAA government hearings Valenti, Jack television, and media effects social science research violence media effects media violence government hearings censorship and ratings children television television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures violence, and bibliography bibliographies bibliographies, and TV violence National Commission on Causes and Prevention of Violence hearings, Causes and Prevention of Violence (1969) Valenti, Jack, and media violence Valenti, Jack, and Congress Baker, Robert K.// Sandra J. Ball Mass Media and Violence. Volume IX. A Report to the National Commission on the Causes and Prevention of Violence 6520 Baker, Thomas Thorne Wireless Pictures and Television: A Practical Description of the Telegraphy of Pictures, Photographs and Visual Images New York Van Nostrand
1927
photography radio journalism news and journalism television, and history of telegraph newspapers news television photography and visual communication telegraph, and photographs books, periodicals, newspapers newspapers, and photographs wireless communication wire communication, and photographs television, and origins Baker, Thomas Thorne Wireless Pictures and Television: A Practical Description of the Telegraphy of Pictures, Photographs and Visual Images 42680 Bakshy, Alexander Color in Modern Life Current History
July 1934
40 444-48 Bakshy, a drama and film critic, here comments on the “enormously important place in modern life” (444) that color had come to hold in 1934. He begins by quoting Ruskin in The Stone of Venice in which he says that “the purest and most thoughtful minds are those which love color most.” (Ruskin quoted, 444) He ends this piece by noting that color is often associated with the emotional Oriental mind as opposed to the more logical Western mind which put form above color. Was there some kind of “radical change … to be expected in our general attitude toward life? … Are we then heading for a civilization rules by emotion rather than intellect?” he asks. (448)
The author says that “our life has been invaded by prismatic color in all the endless variety of its shades and combinations,” (444) and these colors have come into both homes and the workplace. Two factors help to explain this explosion of chromatic color. One is that “chemists and electricians discovered the means of producing color in large quantities and cheaply,” (444) he says. The second, and perhaps more important factor in color’s spread, is “because manufacturers of many articles found in color a new allurement for buyers.” (444) This “ever-increasing use of color” (446) in advertising resulted from “overproduction” by American manufacturers. (446) It was a way of making goods more alluring, and a way of disguising products of poor quality or of giving a misleading impression of a product’s quality. (444)
Color, Bakshy says, is also especially apparent in textiles. He notes that since the end of World War I it was more difficult to get dyes from Europe. This fact forced finding a solution of “fixing uniform shades of color with the seasonal changes of fashions.” (445) The Textile Color Card Association of the United States was established in 1915 and its “Standard Color Card of America” listed 128 colors. (445) It helped to keep American textiles from being dominated by British and other foreign textiles.
The dyestuffs industry has been essentially a post-World War I development in the United States. Prior to the war, about 90 percent of the dyes Americans consumed came from foreign countries. By 1930, the U. S. imported only 18 percent of its domestic consumption of and 6.2 percent of the quantity of dyes used. (448) In 1934, the U. S. was an important exporter of dyes.
Color in advertising in 1934 was readily noticeable in newspapers and magazines, but “because of the technical difficulties of printing newspapers in colors, magazines have run ahead of newspapers, though the latter have gradually been catching up,” Bakshy reported. (446) One needed only to look at the Sunday rotogravure sections of the New York Times. (446)
Bakshy said that “next to magazines and newspapers, color in advertising is particularly prominent in posters and billboards.” (446) While there were objections to the “indiscriminate use” of colored posters and billboards, (446) less offensive were “the colored lights which have been transforming the principal streets of our cities into a fairyland of scintillating glamour particularly the electric gas-filled tubes of various colors, with their soft glow and easy adaptability to any desired pattern. Entire buildings, moreover, are sometimes illuminated by flood-lighting for advertising purposes and lend enchantment to the urban scene at night.” (446)
Colored electric lighting has made the theater more visually beautiful. As an art form, “color music” is still in its “rudimentary stage.” (447) Advances have comes in using color in printing, photography, and movies. The goal has been to use color as one means toward the “approximation of visual reality.” (447) Why there have been technical advances in accomplishing this approximation in color photography and motion pictures, “the goal is still far from attained.” (447) Much greater technical advances have come in color printing. Bakshy says that “color printing has had a tremendous influence on modern culture, for it has become the principal means by which the knowledge of art reaches the masses of the people.” (447) Magazine illustrations and poster art have been especially important in this regard. It has led to “a new and important, if unduly commercialized, medium” giving artists news means of expression and the “ability to disseminate appreciation of art among the people.” (447) theater rotogravure rotogravure process billboards color motion pictures electricity printing news and journalism books, newspapers, periodicals color, and newspapers color, and magazines newspapers, and color magazines, and color electricity, and color color, and electricity advertising and public relations color, and advertising advertising, and color capitalism capitalism, and color color, and capitalism color, and dyes color, and chemists color, and 1930s color, and motion pictures motion pictures, and color color, and architecture architecture, and color color, and textiles textiles, and color color, and Textile Color Card of America (1915) color, and billboards billboards, and color color, and electric signs color, and New York Times color, and rotogravure rotogravure, and color posters, and color color, and posters metaphors metaphors, and fairyland color, and electric fairyland color, and theater theater, and color color, and music music, and color advertising books Books, Periodicals, Newspapers magazines music posters print Bakshy, Alexander Color in Modern Life 10460 Baldasty, Gerald J. The Commercialization of News in the Nineteenth Century Madison University of Wisconsin Press
1992
This short, readable book examines the commercialization of news during the nineteenth century. Baldasty looks at the role of advertising, hidden ownership, and other pressures that changed newspapers during the Industrial Revolution. This work offers a good treatment of this subject, one appropriate for undergraduate readers.

-- SV

What this book lacks in length it more than makes up for in insight and clarity. Baldasty’s 140 odd pages of text are probably the most important examination of the enormous changes in the newspaper industry in the late nineteenth century. More accurately, it is the story of the emergence of something that can be called a newspaper industry in the United States and the decline of the partisan newspapers so dominant in the early and middle century. Baldasty also upsets the traditional narrative of the rise of urban commercial journalism as progress, making instead the provocative argument that the partisan press may have actually served Americans better because of their emphasis on politics and promotion of the obligations of citizenship. As he says, the low cost of the cheap urban newspaper hid important real social costs and were no bargain.
Baldasty’s background as a scholar of the Jacksonian era party press informs this book as well, and the first chapter of The Commercialization of the News in the Nineteenth Century is one of the most succinct and informative discussions of the operation of what he calls the Party Press Model. He briefly outlines the role of the editor in the party structure and the necessity of patronage as a source of funds for the newspaper, while offering an evenhanded assessment of the limitations of one-sided “news” presentation and the potential for corruption. This chapter, and the book as a whole, serves the needs of an instructor teaching a journalism history course very well.
The remainder of the book shows how commercially-driven changes in the later nineteenth century affected newspapers. Most notably, advertising replaced patronage and subsidy and the journalist in effect was forced to serve a new master. Baldasty highlights the tension between “good journalism” as editors might have wished to practice it and the needs and desires of the advertisers who paid the bills. As the cost of operation a newspaper skyrocketed, largely due to increases in the cost of presses and newsgathering, newspapers began to run like a business, with the ultimate goal of profit for the investors. With this in mind, predictability and lowering operation costs became paramount concerns. The newspaper at the turn of the century was a totally different creature than it had been in the 1830s and, as Baldasty points out, was no longer serving the needs of a democratic society, despite the fact that the press still enjoys special legal status.
The book is readable, but not eloquent. It is broken into many small sections and suffers from excessive quotations and examples considering its length. While not ideal leisure reading, Baldasty’s book is an excellent supplemental text for undergraduates in a journalism history class. The book is based on dozens of manuscript collections, trade publications, and newspapers. Of interest is the author’s use of the proceedings of press association meetings, which are often a neglected source of “inside information” about the newspaper business.

-- Rob Rabe advertising, and public relations propaganda public relations newspapers journalism news and journalism news books, periodicals, newspapers news, and capitalism advertising news, and advertising Industrial Revolution news, and commercialism news, and monopoly newspapers, and hidden ownership newspapers, and commercialism Rabe, Rob Baldasty, Gerald J. The Commercialization of News in the Nineteenth Century 4890 Baldwin, Neil Edison: Inventing the Century New York Hyperion
1995
Neil Baldwin, English professor, specializing in modern American poetry, has written a captivating biography of one of the most pivotal figures in American history. Relying on the letters of Edison and his associates, Edison’s own autobiography (which he admits is not to be completely trusted), other Edison biographies, scientific articles written by Edison, his reception in the media, and the literary fiction of the period (such as Edward Bellamy’s Looking Backwards), Baldwin tells the story of Edison the man, the inventor, and the bad husband.
Edison’s many inventions are dissected in detail: his race to perfect the telephone before Bell did, his aspirations for the phonograph (education through recordings of Decline and Fall of the Roman Empire), his motion pictures (he was unable to conceptualize film as entertainment and lost out on the film industry), and most importantly: electric lighting (which he promoted by publicly decrying gas as dirty and producing ugly light).
Baldwin presents Edison as a complicated man who was so focused on work that he slept only 4-6 hours night, frequently skipped meals, and rarely saw his wife and children. He was deaf, but did not want to work on inventing a hearing aid because he saw his deafness as an asset. Although many worked on his inventions, he usually expected to get full credit. Although he was a brilliant man, he was unable to let go of his cylinders even when records became popular.
For Baldwin's discussion such innovations as the phonograph, electricity, and motion pictures, see especially chapters 8-12, 19, and 21.
-Hallie Lieberman biography, autobiography, oral histories biography, autobiography, memoirs, oral histories innovation sound recording networks electricity motion pictures sound recording phonograph networks,electrical biography inventions inventors inventions patents Lieberman, Hallie Baldwin, Neil Edison: Inventing the Century 9010 Baldwin, Thomas F. D. Stevens McVoy and Charles Steinfeld Convergence : Integrating Media, Information & Communication Thousand Oaks, CA Sage Publications
1996
See also: media Although this book does not specifically focus on the Internet, it explores the process of media convergence–the coming together of print, broadcasting, cable and telecommunications media enabled by computers and digitization. The authors consider the conditions that led to this convergence, the hurdles which must still be overcome, and the implications for the businesses involved, their management, public policy, and the economy. Included in this analysis is a detailed description of the key technological breakthroughs (fiber optics, satellite, ISDN, and increasing bandwidth) and what each means for the future of interactive media. The work relies primarily on secondary sources.
--Mark Tremayne entertainment computers interactivity entertainment, home optical fibers media effects media convergence mass media home entertainment materials materials fiber optics community democracy home, and new media home home, and information technology media information technology computers and the Internet media convergence interactive media telecommunications information technology, and home optical fibers digital media democracy and media cable, television Tremayne, Mark cable home, and new media digital media digitization optical fibers satellites aeronautics and space communication Baldwin, Thomas F. D. Stevens McVoy and Charles Steinfeld Convergence : Integrating Media, Information & Communication 34090 Balides, Constance Immersion in the Virtual Ornament: Contemporary 'Movie Ride' Films David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
315-36 Balides' "point is that an incorporative mode of worker subjectivity in post-Fordism finds a homologous logic in immersion in the virtual ornament. This mode of immersion characterizes both the representation of spectatorship in contemporary media and formal strategies drawing spectators into the diegetic worlds of 'movie ride' films. When these worlds are virtual are virtual, they suggest an investment not only in a synthetic reality but in an ephemeral spectacle." (328) Go figure.
Balides' essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. visual communication computers special effects, and digitization interactive media motion pictures digital media motion pictures, digital digital motion pictures media convergence interactivity motion pictures, and interactivity special effects motion pictures, and special effects special effects, digital Star Wars audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and fans computer graphics special effects, and computers visual culture photography computers and the Internet computers, and special effects virtual reality digitization computers Balides, Constance Immersion in the Virtual Ornament: Contemporary 'Movie Ride' Films 21090 Balio, Tino The art film market in the new Hollywood Nowell-Smith, Geoffrey// Steven Ricci Hollywood and Europe: Economics, Culture, National Identity: 1945-95 London BFI Publishing [British Film Institute]
1998
63-73 Balio notes that between 1950 and the 1960s, the number of movie houses that played "art films (defined as foreign-language films and English-language films produced abroad without American financing)" increased from about 100 to almost 700. After 1970, "the art film market functioned as a niche business.... During the consolidation of the American film industry in the 1990s, the art film market was taken over by the Hollywood majors who either created classics divisions or acquired the leading independent art film distributors. Although such moves were reminiscent of the companies' behaviour during the 1960s, the renewed interest in speciality film in the 1990s did not spur the new Hollywood to invest in indigenous foreign film production. Like the 1960s, however, Hollywood absorbed promising foreign film-makers, thereby depriving 'other national cinemas of their major talents and thus reducing competition for its own products.'" The book in which this essays appear is part of the series UCLA Film and Television Archive Studies in History, Criticism and Theory. audiences Hollywood foreign films law censorship and ratings censorship non-USA motion pictures and popular culture motion pictures art theaters motion pictures, and foreign films foreign films, and U. S. theaters theaters, and foreign films Europe, and motion pictures motion pictures, and Europe Hollywood, and foreign films censorship, and foreign films Europe Balio, Tino The art film market in the new Hollywood 9530 Balio, Tino Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 New York Charles Scribner's Sons
1993
This volume, the fifth in Scribner's History of American Cinema (Charles Harpole, ed.), has chapters by several authors. Balio's contribution is the Introduction, Chapter 2 ("Surviving the Great Depression"), Chapter 4 ("Feeding the Maw of Exhibition"), Chapter 6 ("Selling Stars"), and Chapter 7 ("Production Trends"). The chapter that speaks most directly to film technology is Chapter 5 by David Bordwell and Kristin Thompson entitled "Technological Change and the Classical Film Style." Other chapters include "The Production Code and the Hays Office," by Richard Maltby; "The B Film: Hollywood's Other Half," by Brian Taves; "The Poetics and Politics of Nonfiction: Documentary Film," by Charles Wolfe; and "Avant-Garde Film," by Jan-Christopher Horak.
--SV

 Part of the Scribner’s series on American cinema, this work deals with the development of Hollywood into a major industry in the 1930s. It draws on secondary sources, as well as magazine articles and the movies of the time. It deals briefly with the influence of technology, in particular the development of special effects. A stunning ten-minute earthquake scene in the highly popular movie San Francisco represented a groundbreaking use of special effects. That the audience was able to stay riveted for ten minutes to such footage in an era of more conversational films was duly noted by the industry, and a trend was begun that has resulted in the Star Wars series and its numerous imitators in our own time.
--Gordon Jackson celebrity self-regulation Production Code PCA documentaries Production Code (motion pictures) Production Code (motion pictures) journalism values religion law censorship and ratings news and journalism Production Code (1930) news news motion pictures motion pictures motion pictures, and technology censorship, and motion pictures Hays, Will H. motion pictures, and avant-garde motion pictures, and B films motion pictures, and documentaries documentaries, motion pictures newsreels news, and motion pictures Breen, Joseph Production Code Administration (PCA) celebrity culture motion pictures, and star system color, and motion pictures color, and Technicolor censorship color documentaries Jackson, Gordon Balio, Tino Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 25720 Balio, Tino ed. The American Film Industry Madison University of Wisconsin Press
1976, 1985
This collection contains several essays that touch on the technology of cinema, censorship, and the economics of Hollywood. The essays are divided into four parts: "A Novelty Spawns Small Businesses, 1894-1908" (including Gordon Hendricks' piece on "The History of the Kinetoscope"); "Struggles for Control, 1908-1930" (including Balio on the founding of United Artists, and Douglas Gomery on "U.S. Film Exhibition," and "The Coming of Sound: Technological Change in the American Film Industry"); "A Mature Oligopoly, 1930-1948"; and "Retrenchment, Reappraisal, and Reorganization, 1948- " (including Richard S. Randall on "Censorship: From The Miracle to Deep Throat," and John Cogley on "HUAC: The Mass Hearings"). advertising, and public relations propaganda public relations propaganda advertising motion pictures Hollywood cinema motion pictures celluloid film law censorship and ratings censorship motion pictures and popular culture television Hollywood, and television television, and Hollywood television, and motion pictures motion pictures, and television film industry Hollywood, and film industry advertising advertising, and motion pictures motion pictures, and advertising public relations public relations, and motion pictures censorship, and motion pictures motion pictures, and censorship censorship, and The Miracle censorship, and Deep Throat blacklisting sound recording motion pictures, and sound Kinetoscope materials Balio, Tino ed. The American Film Industry 3540 Ball, Leslie D. Computer Crime Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
533-45 The use of such new information technology as personal computers and distributed processing have made computer crime much easier for all levels of workers. The exact extent of such crime (in 1982) is hard to estimate precisely, but quick action is needed to prevent further losses. At the time of this piece, the author was an assistant professor at Babson College in Wellesley, MA. This article first appeared in Technology Review (April 1982). computers computers and the Internet computers, personal computers computers and the Internet computers and society computers, and crime crime, and computers personal computers, and crime computers, personal computers crime personal computers Ball, Leslie D. Computer Crime 32430 Ball, Philip Bright Earth: Art and the Invention of Color New York Farrar, Straus and Giroux
2001
This book offers a lucid account of how the materials available for making colors, and the technology of color, have infuenced the nature of painting. "Color, like music, takes a shortcut to our senses and our emotions," Ball writes. (vii) He notes that during the latter half of the twentieth century, “color itself [was] being reinvented.”
Philip Ball is a science writer trained in chemistry with a doctorate in physics. His earlier books include Made to Measure: New Material for the 21st Century (1997), a study in materials science about how scientists are inventing thousands of new materials. avant garde World War I Kandinsky, Wassily art , color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s materials color, and materials materials, and color Cezanne, Paul, and color color, and Paul Cezanne color, and chemistry color, and dyes color, and Vincent van Gogh van Gogh, Vincent, and color color, and Greeks color, and Impressionism color, and Middle Ages Matisse, Henri, and color color, and Henri Matisse color, and Wassily Kandinsky Kandinsky, Wassily, and color color, and Claude Monet Monet, Claude, and color color, and Isaac Newton Newton, Isaac, and color color, and oil painting color, and van Rijn Rembrandt color, and Renaissance color, and Georges Seurat color, and World War I World War I, and color color, and sensation Jung, Carl, and color color, and Carl Jung values war Ball, Philip Bright Earth: Art and the Invention of Color 32940 Ball, Philip Made to Measure: New Materials for the 21st Century Princeton Princeton University Press
1997
Philip Ball begins this work by quoting Norbert Wiener who said that "invention, as contrasted with the more general process of discovery, is not complete until it reaches the craftsman," by which time, Ball says, "it no longer seems heroic, and the rest of the world has generally lost interest." By taking this attitude, Ball argues, is to lose sight of some of the most important consequences of innovation. "This book is about invention," he writes, "and I think also about a craft: the craft of making new materials, of designing new fabrics for our world. I find these fabrics astonishing. We can make syntheic skin, blood, and bone. We can make an information superhighway from glass. We can make materials that repair themselves, that swell and flex like muscles, that repel any ink or paint, that capture the energy of the Sun." (3-4)
Ball writes intelligently about complex scientific developments and in a manner that is understandable for non-scientists and other non-specialists. Heoffers a series of self-contained chapters designed to be "a collection of snapshots of materials science." (13) The opening chapter, "Light Talk: Photonic Materials," maintains that the next information technology revolution will abandon the transistor and use light to convey information. Chapter 2, "Total Recall: Materials for Information Storage," looks at light-based information storage. In this chapter, Ball explains magnetic recording ("writing with magnetisim"). He suggests that photonics will supersede this means of information storage. "Convention magnetic information storage is a technology designed to be compatible with electronic information processing," he writes. "But when photonics replaces this means of handling data (as it surely will), information storage will have to adapt to suit the new regime.... If photonics is to be the information technology of the future, there will be ever more of a pressing need to develop ways of storing data optically." (79) He discusses the advantages of compact discs and suggests that despite its advantages, its "fatal flaw ... is that its is not (yet) possible to erase and write over the information on a disk." (80)
Chapter 3, "Clever Stuff: Smart Materials," argues that by coupling smart materials "to sensors and microprocessors" it will be possible to create "intelligent systmes that adapt their properties to their environment." (103) Chapter 4 is "Only Natural: Biomaterials." Chapter 5, "Spare Parts: Biomedical Materials," points out that "most of the human body can now be replaced with artificial parts," and that increasingly, the trend is "toward bioactive or bioadaptive materials that cooperate with living tissues rather than ignoring them. The ultimate goal is the growth of new organs, which will come from a marriage of molecular biology and materials science." (209) Chapter 6 is entitled "Full Power: Materials for Clean Energy." Chapter 7, "Tunnel Vision: Porous Materials," explains how "materials with finely sculpted interiors are now being built by molecular architects." (282) In "Hard Work: Diamond and Hard Materials," chapter 8, Ball talks about synthetic diamonds and "diamond films" that "can now be grown at low pressures from carbon-containing vapors," and which "promise to usher in ultra-hard protective coatings and new kinds of electrical and optical devices." (313) Chapter 9, deals with "Chain Reactions: The New Polymers," and chapter 10, "Face Value," covers "Surfaces and Interfaces" that are engineered with "molecular-scale precision." (384)
Ball is a science writer trained in chemistry with a doctorate in physics. He has also written Bright Earth: Art and the Invention of Color (2001), about how the materials available for making colors, and the technology of color, have infuenced the nature of painting. materials, and silicon discs, compact materials artificial intelligence and biotechnology digital media compact discs (CDs) digital media, and compact discs (CDs) optical fibers gallium arsenide genetic engineering graphite sound recording magnetic recording sound recording, and magnetic tape nanotechnology photodetectors optoelectronics phospholipids lasers polymers semiconductors integrated circuits sensors silicon dioxide silicon titanium information storage history and new media transistors inventions photonics CDs compact discs (CDs) fiber optics history inventions, and process of Ball, Philip Made to Measure: New Materials for the 21st Century 30 Balle, Francis The Communication Revolution and Freedom of Expression Redefined Everett M. Rogers and Francis Balle, eds. The Media Revolution in America and in Western Europe: Volume II in the Paris-Stanford Series Norwood, NJ Ablex Publishing Corp.
1985
80-91 Paris-Stanford Series 2 According to Balle, the “central issue of mass communication policy throughout the world has been the freedom of expression. On one hand, communicators should have complete independence to write and say what they wish, without having to consider what the State wishes. In reality, the State often constrains such complete freedom of expression, so as to ensure that the mass media act in a way that is socially responsible. In this chapter, the historical background of the freedom of expression is traced, both in America and Europe, leading up to the current concern with the new media (that represent the Communication Revolution).” New communication technologies “represent a basic change in who can communicate with whom (and what content is transmitted),” and therefore “force a basic reexamination of the conditions for the freedom of expression.”
This work is Volume 2 in the Paris-Stanford Series, edited by Everett M. Rogers and Francis Balle.
 communication revolution freedom law censorship and ratings non-USA general studies communication revolution freedom of expression Europe, and censorship censorship Europe censorship, and new media communication revolution, and censorship Balle, Francis The Communication Revolution and Freedom of Expression Redefined 1190 Barak, A. W. A. Fisher S. Belfry and D. R. Lashambe Sex, guys, and Cyberspace: Effects of Internet pornography and individual differences on mend’s attitudes toward women Journal of Psychology & Human Sexuality
1999
11 1 63-91 See also: violence See also: sexuality This study examined the relationship that self-selection of pornographic materials via the Internet had with attitudes toward women, acceptance of rape myths, and likelihood of harassing a female. Participants were allowed to use a computer with preset site options based on the percentage of bookmarks being pornographic ranging from 0 percent pornographic to 80 percent pornographic. Contrary to expectations they did not find any differences in attitudes toward women, likelihood of sexual harassment, and rape myth acceptance between the four conditions. Although this study does not demonstrate a relationship between exposure to pornographic materials on the Internet and negative effects the authors the authors indicate that their still exists a great deal of concern regarding the issue of Internet pornography.
--Michael Boyle computers women, and new media women social science research sexuality motion pictures media effects media violence violence Internet computers Boyle, Michael pornography media effects pornography, and rape myths violence, and pornography pornography, and violence women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects media effects, and violence media effects, and motion pictures violence, and computers computers and the Internet pornography, and computers computers, and pornography Internet, and pornography pornography, and Internet Barak, A. W. A. Fisher S. Belfry and D. R. Lashambe Sex, guys, and Cyberspace: Effects of Internet pornography and individual differences on mend’s attitudes toward women 2140 Baran, Barbara Office Automation and Women’s Work: The Technological Transformation of the Insurance Industry Manuel Castells, ed. High Technology, Space, and Society Beverly Hills, CA Sage Publications
1985
143-71 See also: office women, and new media labor office, and information technology information technology general studies women automation labor insurance industry women labor, and new media labor, and women women, and new media women office Baran, Barbara Office Automation and Women’s Work: The Technological Transformation of the Insurance Industry 34150 Barber, Benjamin R. Which Technology and Which Democracy? Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
33-47 Barber offers four caveats in this essay: 1) He is not a technological determinist. 2) People often overestimate how much of "new technology" is actually new. 3) "We need to remind ourselves that spectrum abundance (the multiplication of conduits and outlets) is not the same thing as pluralism of content, programming, and software. When we distinguish content from the conduits that convey it, the consequences of monopolistic ownership patterns become much more obvious. For as the ownership of content programming, production, and software grows more centralized, the multiplication of outlets and conduits becomes less meaningful." (34) 4) Barber discusses the "generational fallacy, which is at play in the history of technology generally. Those who create and first use new technologies take for granted the values and frameworks of previous eras and previous technologies and assume that new generations will have those same values and frameworks. Wrapped in the cocoon of presentness, they forget that for a new generation introduced to th world only via the new technologies, the values and frameworks that conditioned and tempered tose who invented the technologies will be absent. For the second generation of users, this can be corrupting in ways invisible to the pioneers and inventors." (35)
The volume in which Barber's chapter appears is part of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectives on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organized by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." (ix-x) technology present mindedness democracy freedom technological determinism critics, and new media history and new media capitalism democracy, and new media presentism critics history technology and society Barber, Benjamin R. Which Technology and Which Democracy? 1370 Barger, Susan M. The Daguerreotype: Nineteenth Century Technology and Modern Science Washington, D. C. Smithsonian Institution Press
1991
photography science daguerreotype photography and visual communication photography, and science science, and photography Barger, Susan M. The Daguerreotype: Nineteenth Century Technology and Modern Science 12770 Barish, Jonas The Antitheatrical Prejudice Berkeley University of California Press
1981
This book is an excellent study of how actors have been regarded through history in most, if not all, cultures of the world. The author notes that throughout history, at least prior to the twentieth century, actors have been held in low regard. audiences values religion theaters theater morality law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and actors' status motion pictures, and theaters theaters, and motion pictures motion pictures, and critics theater, and critics motion pictures, and morality morality, and motion pictures censorship, and motion pictures censorship, and theater motion pictures, and censorship theater, and censorship values, and actors Barish, Jonas The Antitheatrical Prejudice 4380 Barnaby, Frank Microelectronics in War Günter Friedrichs and Adam Schaff, eds. Microelectronics and Society: For Better or for Worse: A Report to the Club of Rome Oxford, Eng. Pergamon Press
1982
243-72 The author, who was a former Director of Stockholm International Peace Research Institute, Hampshire England, looks at possible applications of microelectronics to warfare. He discusses strategic submarine-launched ballistic missiles, anti-submarine warfare, cruise missiles, the automated battlefield including sensors, electronic warfare, global military communication, deterrence, and more. R & D nationalism sensors research and development war communication revolution second industrial revolution communication revolution war non-USA rocketry microelectronics military communication nationalism and communication global communication microelectronics revolution rocketry, and microelectronics miniaturization microelectronics, and military military communication, and microelectronics sensors, and military microelectronics, and rocketry Barnaby, Frank Microelectronics in War 180 Barnard, Charles The New Photography The Chautauquan
April 1896
23 1 75-79 This article discusses the work of Wilhelm Conrad Roentgen, the progress photography made possible by the vacuum tube, and the x-ray. "In less than thirty days absolutely new scientific terms were aparently adopted into the daily language of the newspapers" Barnard writes. It notes that "general newspaper public" and its acceptances of these seemingly miraculous discoveries. "The vacuum tube has opened up a new country and yet the X rays may be only new manifestations of the law of motions that entends from sun to sun and, however strange these new things appear, they are yet a part of the Creator's universe." (79) photography photography and visual communication cameras vacuum tubes photography, and x-rays x-rays photography, and vacuum tubes vacuum tubes, and photography vacuum tubes, and x-rays Barnard, Charles The New Photography 26050 Barnhart, Aaron ‘V’ is for virtually ignored: In a software age, the hard-wired V-chip hasn’t caught on Wisconsin State Journal (Madison)
April 28, 2000
1D, 3D This article is about the V-chip, which Congress required to be placed in all new television sets, and notes that relatively few people are aware of this technology and even fewer choose to use it. Motion Picture Association of America (MPAA) entertainment classification MPAA self-regulation government hearings Federal Communications Commission (FCC) entertainment, home Clinton, William Jefferson CARA V-chip, and television violence television, and parents telecommunications presidents, and new media censorship and ratings rating system (U.S.) rating system (U. S.) PTA motion pictures home entertainment government regulation Clinton Administration law regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification Gore, Al home, and new media home home television motion pictures and popular culture Valenti, Jack Valenti, Jack, and TV rating system (U.S.) rating system (U. S.), and TV (1997) V-chip television, and rating system (U. S.) television, and V-chip home entertainment revolution home entertainment, and V-chip television, and PTA PTA, and television television, and critics rating system (U. S.), and critics hearings new media Collings, Tim V-chip, and Tim Collings Telecommunications Act (1996) regulation, and television Valenti, Jack, and television television, and Jack Valenti Clinton, Bill Clinton, Bill, and TV rating system (U. S.) Clinton administration, and TV rating system (U. S.) Gore, Al, and TV rating system (U. S.) McCain, John, and TV rating system (U. S.) Lieberman, Joseph, and TV rating system (U. S.) FCC FCC, and TV rating system (U. S.) Markey, Ed, and V-chip V-chip, and public reception violence Barnhart, Aaron ‘V’ is for virtually ignored: In a software age, the hard-wired V-chip hasn’t caught on 1380 Barnhurst, Kevin G. Seeing the Newspaper New York St. Martin’s Press
1994
This book focuses on the visual makeup of the modern newspaper. “In these pages,” Barnhurst writes, “I have tried to describe and map out what has been published, so that journalists and readers need not make or see the newspaper without some sense of its visual history and meaning. I have also attempted to introduce the ideas from philosophy, science, and art that contribute to a visual understanding of newspapers.” The acknowledges that television is perhaps more important to mass culture. He believe, though, that studying the newspaper and its advertising has implications for better understanding television. Chapter 2, “Understanding Photography,” has a discussion of histories of photography. “General histories of photography often recite a story of technology pushed forward by ‘great men’ who responded to their social milieu. However, pictures also wield ideological power, convey myths, and affect their subjects. Photojournalists have tended to ignore ideology as they invented new ways of thinking about pictures.” photography advertising, and public relations visual communication propaganda public relations democracy and media democracy communication revolution journalism communication revolution news and journalism newspapers news photography and visual communication books, periodicals, newspapers advertising newspapers, and advertising advertising, and newspapers newspapers, and photography graphics revolution photojournalism photography, and history of press newspapers newspapers magazines books newspapers, and visual communication visual communication, and newspapers newspapers, and television newspapers, and visual makeup Barnhurst, Kevin G. Seeing the Newspaper 39910 Barnhurst, Kevin G. John Nerone Civic Picturing vs. Realist Photojournalism: The Regime of Illustrated News, 1856-1901 Design Issues
Spring 2000
16 1 59-79 Readers who are willing to wade through the ponderous opening of this article will be rewarded with an interesting discussion of how two periodicals, Frank Leslie's Illustrated Weekly and Harper's, used illustrations and how those pictures changed from the mid-1850s through the assassination of President William McKinley in 1901. "Illustrated journalism," the authors write, intervened "between readers and the world," and provided readers "with an artificial archive of memory images -- a primitive form of total recall of the sort that contemporary scholars ascribe to later visual media." (64) Throughout much of this period, artists played a central role in creating illustrations that appeared in the press. During the 1890s, though, photography, and with it a greater sense of realism, assumed much greater importance. This development led to a shift from "personage" which depicted "a relatively fixed set of traits that spring from social class, race, position of power, physiognomy, style of dress, and personality," to "person," (72) in which both leaders and ordinary people in natural poses assumed increased prominence. "The fixity and materiality of the personage, even the character of great men, is quite alien to the photographic age," the authors maintain. (73) The decline of this earlier "regime of illustrated journalism" implied, the authors write, "the loss of the republican ethos of citizenship." (79)
This article discusses the processes and difficulties of reproducing pictures during the late 19th century. Early on, "woodcuts and wood-engravings were the favorite media for printers of news illustrations." (62) The process of making these illustrations "was a collective and routinized one" and each picture "required the skilled intervention of several artists." (62) Pictures rarely lacked text next to them. Usually, although not always, the illustrations used were chosen on the "basis of what pictures were available." (63)
The authors discuss four genres of illustration (64-70) often found in these two magazines: 1) "prominent people"; 2) "the wonders of nature"; 3) "the built environment': and 4) "noteworthy events." (64) They identify seven modes of illustrated used by Leslie's and Harper's: 1) sketches; 2) drawings or "fine drawings"; 3) photographs, "all in a clean, mechanical rendering at first reproduced as engravings, and later as halftones" (65); 4) cartoons; 5) editorial icons; 6) maps; and 7) technical drawings. (65)
Barnhurst and Nerone discuss the "civic gaze," or "images ... created to represent incidents as they would be viewed 70/71 by a citizen not directly involved, but paying close attention at a distance." (70-71) They consider how Leslie's depicted the assassination of James A. Garfield. The drawing of Garfield's face as he is hit by the bullet "was based on the sketch artists' interviews with people on the scene; the journalists themselves had not been present by arrived two hours after the shooting." (72) Engraving even provided "rather gruesome depictions of his corpse being autopsied and embalmed." (73) Such "illustration of Garfield's autopsy and embalming ... reinforced the President's body as a symbol of state," the author contend. (79) By the time of William McKinley's assassination in 1901, photography was used extensively and "the position of subjectivity changed quite dramatically. By the turn of the century, subjectivity floats in the air around great events -- a fly on the wall, not connected to any identifiable social or political subject. The emphasis has moved from a public (being those with the franchise) to a more generic 'public view' available at closer quarters, revealing emotion in the moment and emphasizing the human face and body frozen in action or reaction." (72) Leslie's published dozens of photos of McKinley when he was alive and also of his assassin , Leon Czolgosz.
The authors argued that "the year 1890 may be taken as a watershed, a moment of change in the practice of illustrated journalism.... Photography was ... the picturing tool most congenial to the realism of the news periodical literature. The landmark moment in the marriage of social realism, journalism, and photography was the publication of Jacob Riis's How the Other Half Lives in 1890." (74)
This article is vague on when the daily newspaper press began to use photographs merely saying that "In the 1890s, papers such as Pulitzer's World, Hearst's[sic] and the Chicago Daily News, carried illustration like those in Leslie's but on a daily basis and more cheaply." (77) Actually, the daily press probably did not begin using photograph until early 1897, when Stephen Horgan at the New York Tribune devised a method that make such picture possible on the high-power rotary presses of daily newspapers.
By 1901, a "new regime of realism embodied in photography" had "fundamentally recast" the role of illustration in the press. "The condition for the rise of photojournalism, then, was the rejection of the regime of illustrated journalism, with its obsolescent (and perhaps too republican) collusion in the explicit artistry of storytelling." (77) "What consequences flow from the loss of the regime of illustrated news?" Barnhurst and Nerone ask. "As a result of its marriage with realism, press photography embraced a notion of reportage that required the effacement of authorship. If photographers simply operate the machinery revealing reality, they cannot be held accountable for what the camera exposes. Unlike artists and authors, who hold responsibility for their vision of the world, photojournalists are witnesses and bystanders to events ostensibly beyond their control. Thus, the realist regime effectively removed any clear lines of responsibility, hiding news work in what has been called the fog of documentary force." (78)
One result of this realism were increased images of ordinary people and ordinary life. "Realism in art welcomed into the canon of imagery the depiction of ordinary life, as opposed to great scenes from history, mythology, and literature -- a move that preceded the shift we observed in the illustrated papers.... Certainly a kind of visual intelligence disappears when readers forget about the authored artistry of pictures, and succumb to what philosophers call naive realism." (78)
Finally, the authors believe that "a more important loss was the disappearance of an implied model of citizenship. The new regime divides the reader or viewer from the world in way normatively distinct from those of the old regime. Journalism driven by narrative carried along in its wake the reader, who anticipated sequence, emplotment, and resolution. Realist press photography trades away temporal narrative in exchange for other things, such as immediacy and emotional impact. Photojournalism is exciting and startling but, by doing more, it may, in fact, do less to bring readers into the storytelling of 78/79 news...." (78-79) wood engraving personality magazines illustrations fame citizenship news and journalism photography and visual communication photojournalism news, and pictorial press books, periodicals, newspapers Riis, Jacob magazines, and illustrations illustrations, and magazines illustrations, and newspapers newspapers, and illustrations photography, and magazines photography, and newspapers newspapers, and photography magazines, and photography modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel presidents and new media presidents, and photography photography, and presidents Garfield, James, and newspaper illustrations McKinley, William, and newspaper illustrations McKinley, William, and photography photography, and William McKinley photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality nationalism and communication photography, and citizenship citizenship, and photography newspapers, and citizenship citizenship, and photography history and new media history, and newspaper illustrations history, and photography history, and magazine illustrations celebrity history McKinley, William nationalism news photography John Nerone Civic Picturing vs. Realist Photojournalism: The Regime of Illustrated News, 1856-1901 10650 Barnouw, Erik Documentary: A History of the Non-Fiction Film New York Oxford University Press
1974
Barnouw based this work on interviews with documentarists and research in film archives in twenty countries. He (and his wife) also viewed some 700 documentary films and looked at many of their scripts. He notes that the documentary can both enlighten and deceive. "The documentarist has a passion for what he finds in images and sounds -- which always seem to him more meaningful than anything he can invent. Unlike the fiction artist, he is dedicated to not inventing. It is in selecting and arranging his findings that he expresses himself; these choices are, in effect, comments. And whether he adopts the stance of observer, or chronicler, or whatever, he cannot escape his subjectivity. He presents his vision of the world.
"In denying himself invented action, the documentarist adopts a difficult limitation. Some artists turn from documentary to fiction because they feel it lets them get closer to the truth. Some, if would appear, turn to documentary because it can make deception more plausible.
"Its plausibility, its authority, is the special quality of the documentary -- its attraction to those who use it, regardless of motive -- the source of its power to enlighten or deceive." USSR Asia journalism news and journalism non-USA Sweden Soviet Union news motion pictures Japan Italy India Great Britain Germany motion pictures motion pictures, and documentaries documentaries Africa, and film documentaries Canada, and National Film Board Canada, and film documentaries China, and film documentaries Great Britain, and film documentaries France, and film documentaries Germany, and film documentaries Grierson, John India, and film documentaries Italy, and film documentaries Japan, and film documentaries Soviet Union, and film documentaries Poland, and film documentaries Riefenstahl, Leni Sweden, and film documentaries Vertov, Dziga, and film documentaries newsreels Africa Canada China Poland France Soviet Union Barnouw, Erik Documentary: A History of the Non-Fiction Film 31880 Barnouw, Erik The Image Empire: A History of Broadcasting in the United States: Volume III -- from 1953 New York Oxford University Press
1970
3 This work follows volume I (A Tower of Babel) and Volume II (The Golden Web) by Barnouw. This volume covers television in the age of Joseph McCarthy, the Cold War, John F. Kennedy, Vietnam, and the first man landing on the moon. There is much interesting information in this work. For example, Barnouw discusses the use of videotape during the so-called "Kitchen Debate" between then Vice President Richard Nixon and then Soviet leader Nikita Khrushchev. The work has an Appendix that covers major events chonologically from 1953-70. Another appendix deals with "Laws" with relevant sections from the Central Intelligence Agency Act of 1949, and the Communications Act of 1934. Soviet Union corporations nationalism corporations Johnson, Lyndon corporations corporations corporations Federal Communications Commission (FCC) Eisenhower administration Central Intelligence Agency , television magnetic recording videotape Nixon, Richard Kennedy, John F. Eisenhower, Dwight D. Johnson, Lyndon McCarthy, Joseph presidents and new media war nationalism and communication blacklisting ABC CBS NBC radio CIA radio, and CIA CIA, and radio FCC videotape, and Kitchen Debate motion pictures television, and motion pictures motion pictures, and television USSR Great Britain Khrushchev, Nikita television, and press conferences Kennedy, John F., and television radio, and shortwave shortwave radio videotape, and origins war Cold War Cold War, and television television, and Cold War advertising television advertising, and television television, and advertising aeronautics and space communication news and journalism satellites, and news news and journalism, and satellites FCC satellites CBS NBC ABC RCA USSR USIA propaganda Central Intelligence Agency Act (1949) Communications Act (1934) regulation non-USA news censorship and ratings magnetic tape magnetic recording advertising and public relations Barnouw, Erik The Image Empire: A History of Broadcasting in the United States: Volume III -- from 1953 860 Barnouw, Erik The Magician and the Cinema New York Oxford University Press
1981
Erik Barnouw tried to capture a period when the history of magic and history of cinema intersected. In his chapter on “ Nitrate Magic,” he talks about how magicians used movies and also how films were used to create new forms of magic film tricks, ghosts, metamorphoses, mayhem (e.g., decapitations), and “new tricks.” He asks in 1981 “Does not our magic industry via drama, documentary, docu-drama still summon up ghosts of yesterday and use them for present purposes, whether of statecraft, religion commerce.?” (105) He talks about slow motion being used as early as 1899. (p. 99) See especially pages 85-105. theater stage words vs. images motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and magic motion pictures, and special effects cinema of attractions images vs. words cameras motion pictures, and new art form motion pictures, and psychology motion pictures, and magic motion pictures, and slow motion Barnouw, Erik The Magician and the Cinema 6530 Barnouw, Erik A Tower of Babel: A History of Broadcasting in the United States, Volume I -- to 1933 New York Oxford University Press
1966
U. S. Navy R & D corporations corporations corporations Federal Communications Commission (FCC) advertising, and public relations censorship and ratings propaganda public relations research and development war journalism government regulation news and journalism war radio news Hollywood television radio broadcasting advertising, and broadcasting crystals FCC radio, and frequency modulation General Electric Company radio, and Hollywood Hollywood, and radio Radio Act of 1927 Radio Act of 1912 Communication Act of 1934 U. S. Navy, and wireless military communication radio, and news news, and radio documentaries Paley, William RCA advertising NBC radio, and FM National Broadcasting Corporation motion pictures Barnouw, Erik A Tower of Babel: A History of Broadcasting in the United States, Volume I -- to 1933 6540 Barnouw, Erik Tube of Plenty: The Evolution of American Television New York Oxford University Press
1982
1975 Tube of Plenty is a condensation of Barnouw's multi-volume History of Broadcasting in the United States. Barnouw presents a detailed history of television, from its earliest days, through the late 1980s, focusing on the evolution of the technology and the content. He follows the development of television from its roots in radio technology and business, and relates its history to the economic and political history of the United States. He describes in great detail the history of television programming, and provides rich insight into why Americans saw what they did when they did.
--Phil Glende

Tube of Plenty is a history of American television (and some radio) that is widely considered to be a classic. Erik Barnouw (now deceased), a former professor at Columbia University, writes the history as a series of stories. The birth of television cannot be understood without a look at the history of radio, according to Barnouw, so that’s where he begins, with fascinating stories of radio broadcasts in World War I (amateur operators got in the way of official army and navy transmissions) as the first radio stations (KDKA began broadcasting in Pittsburgh, PA before radios were commercially available). He details the history of television by beginning with the story of Philo Farnsworth, an Idahoan farm boy who invented TV and continues through to the 1980s and the rise of reality television.
Barnouw argues that television has become a defining influence on American life, affecting everything from the level of political discourse (news broadcasts have become more superficial and politicians to rely more on advertising and media) to social change (cigarette advertising led to anti-cigarette broadcasts that informed the public about the dangers of nicotine). He deftly synthesizes his (mostly secondary) sources that include biographies of television personalities, advertisements; television programs themselves, and court documents.
--Hallie Lieberman U. S. Navy R & D USSR corporations corporations corporations corporations Federal Communications Commission (FCC) magnetic recording advertising and public relations censorship and ratings presidents, and new media Reagan administration propaganda public relations fiber optics research and development war journalism government materials magnetic tape materials cinema motion pictures celluloid fiber optics regulation news and journalism war non-USA radio news Hollywood Great Britain film television radio broadcasting advertising, and broadcasting American Broadcasting Company ABC AT & T Great Britain, and television cable, television television, and cable Columbia Broadcasting System crystals FCC radio, and FM General Electric Company radio, and Hollywood Hollywood, and radio Radio Act of 1927 Radio Act of 1912 Communication Act of 1934 U. S. Navy, and wireless military communication radio, and news news, and radio documentaries Paley, William television, public RCA Videotex Reagan, Ronald Sarnoff, David Soviet Union Twentieth Century-Fox optical fibers videodiscs videotape television, and videotape Glende, Phil advertising cable CBS NBC ABC Lieberman, Hallie Farnsworth, Philo T. advertising, and tobacco Barnouw, Erik Tube of Plenty: The Evolution of American Television 14060 Barrett, Wilton A. The Work of The National Board of Review Annals of the American Academy of Political and Social Sciences
Nov. 1926
128 175-86 This article provides an account of the National Board of Review which censored motion pictures prior to the creation of the Motion Picture Producers and Distributors Association (MPPDA) or as it was better known, the Hays Office which was run from 1922 to 1945 by Will H. Hays. censorship, and National Board of Review motion pictures, and National Board of Review motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings Barrett, Wilton A. The Work of The National Board of Review 25060 Barricklow, Denis Almodovar Appeals X Rating on Latest Film UPI release
April 24, 1990
This article concerns the legal challenge against the X rating given to Tie Me Up! Tie Me Down! This challenge was one of several made against the movie rating system in 1990 in the month preceding the adoption of a new rating category, NC-17. Civil rights attorney William Kunstler represented the movie and its makers. independent moving making Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality Classification and Rating Administration (CARA) sexuality advertising, and public relations sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda advertising motion pictures media effects media violence substance abuse drug abuse law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA non-USA motion pictures and popular culture X-rated films NC-17 rating system (U. S.), and controversies CARA, and rating controversies Heffner, Richard, and rating controversies Miramax Films Spain foreign films Spain, and motion pictures violence sex, and motion pictures motion pictures, and sex Ebert, Roger X-rating, and legal challenges drug use, and motion pictures motion pictures, and drug use motion pictures, and sex motion pictures, and drugs public relations motion pictures, and public relations public relations, and motion pictures independent film producers rating system (U. S.), and independent producers CARA, and independent producers CARA, and foreign films rating system (U. S.), and exploitation of CARA, and appeals process Kunstler, William, and Tie Me Up! Ramos, Charles E. Heffner, Richard CARA Kunstler, William Barricklow, Denis Almodovar Appeals X Rating on Latest Film 27120 Barry, David S. Screen Violence and America's Children Spectrum
Summer, 1993
66 3 37-43 See also: violence See also: sexuality This article examines the large volume of research that shows that watching media violence can have harmful efffects and notes that it is largely dismissed by the entertainment industry and much of the public. motion pictures media effects media violence violence censorship and ratings children media effects violence, and media violence, and children children, and media children, and media violence violence, and research television television, and media effects media effects, and television television, and motion pictures motion pictures, and media effects motion pictures and popular culture motion pictures, and violence Barry, David S. Screen Violence and America's Children 22580 Barry, Kathleen Female Sexual Slavery Englewood Cliffs, N.J. Prentice-Hall
c1979
This anti-pornography tract appeared as feminists and other groups were making a concerted efforts to boycott films and other entertainment deemed to be pornographic. Pornographic was seen as a form of sexual slavery. women, and new media values sexuality motion pictures women feminism law censorship and ratings motion pictures and popular culture pornography women feminists women, and pornography feminists, and pornography pornography, and women pornography, and feminists censorship censorship, and pornography pornography, and censorship feminists, and censorship censorship, and feminists values, and pornography critics values Barry, Kathleen Female Sexual Slavery 36730 Bart, Peter More Than a Lobbyist New York Times
June 26, 1966
87 This article says that although Jack Valenti's selection as the new MPAA president may have been a surprise, it appears to have been a "pleasant" one. Valenti hoped to make the movie Production Code "treat the world as it is and at the same time remain within rational standards of community conduct." It notes that Valenti in his news conferences exhibited "persuasiveness, energy, contagious enthusiasm." Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA self-regulation Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA Production Code, and decline of Production Code, and Jack Valenti Valenti, Jack, and Production Code Production Code Production Code (motion pictures) Bart, Peter More Than a Lobbyist 11180 Barthes, Roland Camera Lucida: Reflections on Photograph New York Hill and Wang
1981
French cultural critic and historian Roland Barthes here offers a study of photography that focuses on the mystical and almost spiritual properties of the photographic image that are often hard to account for in traditional interpretive or historical studies of the medium. His study grows out of a wider theoretical project which examined the extent to which we can view photographs as messages. He concluded that we can indeed look at photographs this way, but only after taking into account the fact that it is a message that appears without a 'code' (or a series of representational forms that stand for concrete meanings -- the way that words stand for objects they represent). The writing in Camera Lucida draws on the work of Swiss linguist Ferdinand de Saussure, who proposed that we might view language as a series of signifiers (words) that refer to distinct signifieds (meanings). Barthes problematizes this distinction through his claim that the signifiers and signifieds in a photograph do not always line up the way they do in language. Here he explores other ways images might convey meaning. This work was translated from French by Richard Howard.
--Matt Lavine photography values photography and visual communication linguistics photography and visual communication Lavine, Matt linguistics, and photography photography, and linguistics Saussure, Ferdinand de values, and photography Barthes, Roland Camera Lucida: Reflections on Photograph 16050 Bartlett, Lanier How the Motion Picture Industry Thrives Here: Birth and Soul Los Angeles Times
Jan. 1, 1916
III 67, 73 This article discusses Los Angeles as a center of movie making in early 1916. Los Angeles actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences advertising and public relations motion pictures, and advertising advertising, and motion pictures motion pictures, and actors actors, and status of capitalism capitalism, and motion pictures motion pictures, and capitalism advertising Bartlett, Lanier How the Motion Picture Industry Thrives Here: Birth and Soul 16060 Bartlett, Lanier Los Angeles the Film Capital of the World. Miles of Story Los Angeles Times
Jan. 1, 1916
III 70 This article discusses Los Angeles as a center for movie making in early 1916. The article notes that 40,000 miles of film is used each day in southern California. It maintains that 10-15 million people attend movies each day in the United States. It says that American movies are superior to European films in "story, direction and acting." It notes that "the fundamental rules of morality, public decency and patriotism must be the guides of the motion picture business." Los Angeles censorship actors acting actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and Los Angeles Los Angeles, and motion pictures theaters theaters, and motion pictures motion pictures audiences audiences, and Los Angeles Los Angeles, and audiences advertising and public relations motion pictures, and advertising advertising, and motion pictures motion pictures, and actors actors, and status of capitalism capitalism, and motion pictures motion pictures, and capitalism motion pictures, and celluloid celluloid celluloid, and motion pictures patriotism, and motion pictures motion pictures, and patriotism patriotism censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings advertising Bartlett, Lanier Los Angeles the Film Capital of the World. Miles of Story 220 Bassett, Ross Knox To the Digital Age: Research Labs, Start-Up Companies, and the Rise of MOS Technology Baltimore Johns Hopkins University Press
2002
“The MOS (metal-oxide-semiconductor) transistor,” writes the author, “the fundamental element in digital electronics, is the base technology of late-twentieth-century and early-twenty-first-century America. Though it digital electronics have entered almost every area of American life, first through the calculator, then through the digital watch, and finally through the microprocessor. The rise of the MOS transistor has made what was once ludicrous commonplace.” (1)
The MOS transistor was “revolutionary” in the way it replaced the bipolar transistor which had been invented by John Bardeen, William Shockley, and Walter Brittain, and which previously had dominated the market. While the MOS transistor was slower than the bipolar transistor, it had an advantage in that more MOS transistors could be put on an integrated circuit. Intel was the company that exploited this technology perhaps most effectively.
This work covers the years from 1945, when research began that led to the transistor at Bell Labs, until 1975, by which time MOS technology had produced such successful products as semiconductor memories and microprosessors. It attempts to trace MOS technology from a point when it seemed to be a bad idea until it was clear that this technology had become “the technological foundation of American society.” (11)
This work is a volume in the Johns Hopkins Studies in the History of Technology series, edited by Merritt Roe Smith. It is well researched, and is based on primary and secondary sources. It also has an informative “Essay on Sources.”
This book appears in the Johns Hopkins Studies in the History of Technology (Merritt Roe Smith, editor). R & D computers microprocessing transistors, and integrated circuits IBM digital media war computers and the Internet transistors transistors, MOS transistors, bipolar Intel, and transistors IBM, and transistors semiconductors semiconductors, and bibliography microprocessors integrated circuits Moore, Gordon Moore's law Bell Laboratories, and transistors transistors, and Lee Boysel digitization Fairchild Semiconductor Boysel, Lee, and transistors research and development military communication transistors, and military RAM Shockley, William, and bipolar transistors materials Shockley, William Random Access Memory (RAM) Bell Laboratories Intel Corp. Bassett, Ross Knox To the Digital Age: Research Labs, Start-Up Companies, and the Rise of MOS Technology 40120 Basten, Fred E. Glorious Technicolor: The Movies' Magic Rainbow South Brunswick and New York A. S. Barnes and Company
1980
This well-illustrated book provides an uncritical history of Technicolor’s efforts to bring color to motion pictures. One finds, for example, little information here on the government’s antitrust suit against Technicolor in 1947 or about competition from Eastman Kodak. Anyone wishing to verify quotations or examine the original sources used will be frustrated by the lack of endnotes.
Herbert Kalmus is a central figure in the development of Technicolor. In addition to Kalmus, there is some information here about Leonard Troland, the Harvard psychologist who also helped to develop Technicolor. Basten provides an excerpt from Troland in which he discusses what types of films would be most appealing in Technicolor. He view contrasted with Kalmus who favored, according to Basten, "a series of historical dramas." (38) Troland favored films that appeared to "primitive instincts, such as sex, fear, and laughter. etc." (quoted, 38) Troland says in this passage:

"'It is obvious that we are making subjects to sell to the public for the purpose of amusing them and that our main purpose is not uplift or education. It, therefore, seems to me that we must not be high-brow in our selections and that our pictures should appeal in a fairly simply way to primitive instincts, such as sex, fear, laughter, etc. Becoming acquainted with American history is certainly not a fundamental motive of this sort, although the appeal to patriotic emotion may work under certain circumstances.
"'I am afraid that we are an academic or high-brow organization... Anything which we feel is beautiful is apt to be a flop with the public. Isn't it the best business judgement [sic] to do the old stuff that we know the public will buy, rather than try to set new standards in any domain except photography?
"'I should like to see us make a series of two-reel comedies of a very ordinary type so far as action goes, but Ziegfeldized to the absolute limit that the censorship will stand. Then you will be playing color's highest card so far as box office value is concerned. I am as sure of this as any psychological proposition I would dare to lay down, because I know that the high-brows will buy as well as the low-brows when it come to sex appeal, and color has a great deal to add here. People want to laugh or a kick and not tears or historical instruction. The latter is what they desire for their children, not themselves.
"'I should strongly recommend that we experiment with at least one subject which is distinctly of the type which we as a high-brow group would shun and would blush to sign our names to. Such an experiment will, in my opinion, be the best box office success of all.'" (quoted, p. 38) (my emphasis)

Basten notes that in movies there was a decided shift to color in the mid-1960s, but as a for television, color videotape was difficult to transfer to other countries because of the different technology there. Basten writes: "The swing, however, was to color. Monochromatic filming, once the overwhelming choice of the industry, was now being pushed aside. The ratio of color to black-and-white took a pronounced leap in 1965 when practically all film exposed for television was multi-hued. And, beginning in 1967, with so few black-and-white films being made, the Academy of Motion Picture Arts and Sciences no longer felt it was necessary to continue the two separate classification in their awards structure. (157)
"Technicolor's decision to enter the television field was influenced by its major customers and independent producers, as well as by the move of the three major networks to increase broadcasting of programs filmed in color. The company's reputation was enhanced almost immediately by the disclosure, in late 1966, of a revolutionary technical breakthrough developed by its subsidiary division, Vidtronics. The new technique made possible production of full color television prints from television color tapes of both feature shows and commercials. Previously, shows and commercials on color video tape could not be used overseas because of incompatibility with foreign telecasting equipment. Transferring such color taped shows to color film by the Technicolor Vidtronics systems made taped color shows economically available for telecasting anywhere in the world." (157) (my emphasis)
Like sound, color changed filmmaking bringing about new techniques of lighting, makeup, and set design as well as creating new stars. Basten emphasizes the high quality and durability of the Technicolor process. “Films made less than a decade ago,” he wrote in 1980, “processed by other methods than dye transfer Technicolor, are beginning to fade, slowly turning red in the studio vaults.
“Despite modern technology, scientists have yet to discover how to create dyes for color positive prints that will remain stable when exposed to sunlight and air. Purists, in their concern, say that the most fool-proof way to preserve color films is to isolate the three basic colors – as in the old Technicolor process – and make dye transfer prints. The dyes in these prints are so stable that the life of the prints is not yet known. The oldest available samples, prior to 1930, show no visible signs of fading.” (166)
This works includes a filmography of Technicolor productions or which contained scenes by Technicolor from 1917 to 1979. There is also a timeline of milestones in Technicolor history. Two other appendices explains the “Technicolor Technique” and list Technicolor films given Academy Awards. Kalmus, Herbert illustrations history historical preservation References, Statistics, Timelines, Maps preservation history, and new media motion pictures and popular culture timelines timelines, and Technicolor motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor history, and motion pictures historical preservation, and color motion pictures color, and Technicolor dye transfer Technicolor, and dye transfer process illustrations history cameras Troland, Leonard, and Technicolor Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color history and new media history, and Technicolor Technicolor, and history nationalism and communication Technicolor, and patriotism patriotism, and Technicolor magnetic recording magnetic recording, and videotape videotape, and color color, and videotape television television, and Technicolor Technicolor, and television television, and color videotape television, and color shows sent abroad nationalism, and color TV televisioin, and US influence abroad color, and L.T. Troland Troland, Leonard Troland, Leonard, and color nationalism patriotism videotape Basten, Fred E. Glorious Technicolor: The Movies' Magic Rainbow 32420 Batchelor, David Chromophobia London Reaktion Books
2000
This brief book (125 pages counting references and bibliography) provides a stimulating account of how color in art has throughout history been viewed with suspicion. That prejudie can be traced back as far as Plato and Aristotle and may have helped to form the foundation for “a whole tradition … of ‘moral Puritanism and aesthetic austerity,’” in which only a black-and-white world stripped of odor and color “may be said to be true, beautiful, and good.’” (Bachelore quoting Jacqueline Lichtenstein). Color has been viewed as “the corruption of culture,” something with the “power to overwhelm and annihilate,” or at the very least “undo all the hard-won achievements” of civilization, and hence in need of strong social and moral controls. Long “the object of extreme prejudice” in literature, philosophy, and art, often “regarded as alien and therefore dangerous,” color has been sometimes linked with “the feminine, the oriental, the primitive, the infantile, the vulgar, the queer or the pathological.” It has been commonly associated with “sexual and racial phobias” (e.g., male homosexuality). censorship avant garde art Aristotle , color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s color, and sensation Aristotle, and color color, and Aristotle Plato, and color color, and Plato Plato values values, and color color, and values Batchelor, David Chromophobia 28350 Bates, James Encore Launches 'Nonviolent' TV Network Los Angeles Times
Feb. 2, 1994
D 3D This article is about television cable operator Encore starting a network devoted to nonviolent programming. media effects media violence censorship and ratings television cable television television, and violence television, and cable children violence violence, and cable television television, and nonviolent cable cable children, and media Bates, James Encore Launches 'Nonviolent' TV Network 16600 Bates, Roy Eugene Private Censorship of Movies Stanford Law Review
Feb. 1970
22 618-56 This article is informative about court cases from the Paramount decision in 1948 through the 1960s that weakened the power of motion picture censors. self-regulation Production Code United States v. Paramount Pictures (1948) values Production Code (motion pictures) Production Code (motion pictures) Paramount Pictures values religion law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and censorship censorship, and motion pictures law, and movie censorship Production Code, and decline of Paramount Pictures case (1948) motion pictures, and Paramount Pictures case (1948) motion pictures, and antitrust Bates, Roy Eugene Private Censorship of Movies 28640 Battema, Douglas L. Going for the Gold: A History of the Olympic Games and U. S. Television, 1956-1988 Madison University of Wisconsin, Madison
2003
Battema writes that his doctoral thesis “explores the political, cultural, economic, and industrial uses to which U. S. broadcast television networks put the Olympic Games from 1960 through 1988. From 1956, when the Melbourne Games bypassed network distribution through syndication, the major broadcast networks have used ownership of exclusive Olympic rights to build and to shape viewing audiences, to attract advertising dollars, and to fulfill or to satisfy governmental initiatives, policies, and doctrines. During the period examined, the networks used the Olympics to experiment with and refine narrative techniques and technological innovations, to establish and maintain corporate identities, and to assert their legitimacy and responsibility as stewards of the public airwaves by contradicting critics who alleged that the television industry was unwilling to provide ‘quality’ programming. As the networks’ dominance began to wane with the expansion of cable and satellite television, the Olympics became an even more highly-valued television property that helped the broadcast networks retain their prominence within the industry.
“Drawing on television industry sources and Olympics archives as well as popular sports journalism, this dissertation addresses critical gaps within the fields of television studies, media history, and sports studies.” This doctoral thesis was completed in the Department of Communication Arts at the University of Wisconsin. television television, and sports cable cable television, and sports television, and satellites satellite television, and sports aeronautics and space communication advertising advertising and public relations advertising, and TVsports television, and advertising satellites Battema, Douglas L. Going for the Gold: A History of the Olympic Games and U. S. Television, 1956-1988 4120 Baudrillard, Jean Jean Baudrillard: Selected Writings Mark Poster, ed. and intro. Stanford, CA Stanford University Press
1988
This work assembles many of Baudrillard's writings between 1968 and 1985, published originally in French. Mark Poster's "Introduction" provides an informative overview of Baudrillard's work. Poster writes: "Baudrillard has developed a theory to make intelligible one of the fascinating and perplexing aspects of advanced industrial society: the proliferation of communications through the media. This new language practice differs from both face-to-face symbolic exchange and print. The new media employ the montage principle of film (unlike print) and time-space distancing (unlike face-to-face conversation) to structure a unique linguistic reality. Baudrillard theorizes from the vantage point of the new media to argue that a new culture has emerged, one that is impervious to the old forms of resistance and impenetrable by theories rooted in traditional metaphysical assumptions. Culture is now dominated by simulations, Baudrillard contends, objects and discourses that have no firm origin, no referent, no ground or foundation. In this sense, what Walter Benjamin wrote about 'the age of mechanical reproduction,' Baudrillard applies to all reaches of everyday life."
The last selection in this work is Baudrillard's 1985 article in New Literary History entitled "The Masses: The Implosion of the Social in the Media." In this essay, he takes a different tone than that of his earlier pessimistic "Requiem for the Media," a response to Hans Enzensberger's optimism about new media. In "The Masses....," Baudrillard writes: "....I would no longer interpret in the same way the forced silence of the masses in the mass media. I would no longer see in it a sign of passivity and of alienation, but to the contrary an original strategy, an original response in the form of a challenge; and on the basis of this reversal I suggest ... a vision of things which is no longer optimistic or pessimistic, but ironic and antagonistic." technology advertising, and public relations seeing at a distance reality propaganda public relations print print culture preservation postmodernism modernism modernity communication revolution history, and new media communication revolution, and second industrial revolution non-USA history values polling new way of seeing linguistics history general studies Enzensberger, Hans Benjamin, Walter McLuhan, Marshall advertising polling, and opinion values, and new media new way of seeing, and new media France, theory theory history, break with second industrial revolution communication revolution reality, and media technology and society linguistics, and media Baudrillard, Jean electronic media France montage modernism print v. visual media postmodernism Baudrillard, Jean Jean Baudrillard: Selected Writings 3170 Baudrillard, Jean translated by Chris Turner America London and New York Verso
1986, 1988
French postmodernist Jean Baudrillard writes that "America is the original version of modernity. We are the dubbed or subtitled version. America ducks the question of origins; it cultivates no origin or mythical authenticity; it has no past and no found truth. Having known no primitive accumulation of time, it lives in a perpetual present. Having seen no slow, centuries-long accumulation of a principle of truth, it lives in perpetual simulation, in perpetual present of signs. The Indians' territory is today marked off in reservations, the equivalent of the galleries in which America stocks its Rembrandts and Renoirs. But this is of no importance -- America has no identity problem. In the future, power will belong to those peoples with no origins and no authenticity who know how to exploit that situation to the full.... America was already in its day a satellite of the planet Europe. Whether we like it or not, the future has shifted towards artificial satellites. (76)
"The US is utopia achieved." (77)
Later Baudrillard says that the "advertisements which cut into the films on TV are admittedly an outrage, but they aptly emphasize that most television productions never even reach the 'aesthetic' level and are, basically, of the same order as advertisements. Most films -- including many of the better ones -- are made up from the same everyday romance: cars, telephones, psychology, make-up. They are purely and simply illustrations of the way of life. Advertising does just the same: it canonizes the way of life through images, making the whole a genuinely integrated circuit." (101-02) He goes on to say that "it is Disneyland that is authentic here! The cinema and TV are America's reality! The freeways, the Safeways, the skylines, speed, and deserts -- these are America, not the galleries, churches, and culture." (104) advertising, and public relations propaganda public relations values preservation motion pictures history, and new media history postmodernism simulations television motion pictures and popular culture advertising motion pictures, and advertising advertising, and motion pictures television, and advertising advertising, and television values values, and technology values, and media history, break with Baudrillard, Jean translated by Chris Turner America 710 Baudrillard, Jean translated by Sheila Faria Glaser Simulacra and Simulation Ann Arbor, MI University of Michigan Press
1994 (originally 1981 by Éditions Galilée)
Baudrillard sets out a theory of modern culture, one that focuses more on cultural expenditures and on cultural production. He uses the terms “simulacrum – the copy without an original” and “simulation” to consider mass reproduction and reproducibility in contemporary electronic media culture. “Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance,” Baudrillard writes. “It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory – precession of simulacra – that engenders the territory....”
A few of the chapters in this work include “The Precession of Simulacra”; “The Implosion of Meaning in the Media”; “Absolute Advertising, Ground-Zero Advertising”; “ Holograms”; “Simulacra and Science Fiction”; and “On Nihilism.” nationalism imperialism advertising, and public relations reality propaganda public relations values print print culture electronic media non-USA postmodernism virtual reality critics advertising advertising, and Jean Baudrillard print v. electronic reality, and new media electronic media, and reality values, and electronic media empire, and communication nationalism and communication nationalism, and new media cultural imperialism values Baudrillard, Jean translated by Sheila Faria Glaser Simulacra and Simulation 1500 Baudry, Jean-Louis Ideological Effects of the Basic Cinematic Apparatus Philip Rosen, ed. Narrative, Apparatus, Ideology: A Film Theory Reader New York Columbia University Press
1986
286-98 Part of the 1980s French invasion of deconstructionists and post-structuralists, this short essay is, typical of the genre, all but incomprehensible. It addresses squarely the impact of technology upon the ideological content of movies, but in a less than enlightening manner. It seems to be a strange hybrid of Marxism, and its notion that the dominant bourgeois ideology inevitably determines the content of so major a form of mass communication as the movies, with postmodernism and its sense that meaning is determined entirely by the individual observer. The mobility of the camera and the ability of the film maker to position it so many different ways makes film an unusually good medium in which to explore the postmodern sensibilities, Baudry seems to be saying. A short reflective exercise in theory, this essay makes reference only to secondary sources.
--Gordon Jackson

 French film theorist Jean-Louis Baudry here concerns himself with how one might account for ideology in the cinema. Drawing on a model of ideology developed by French philosopher Louis Althusser, in which the term 'ideology' refers to a compelling force that places individuals (or 'subjects') into a predefined set of relationships with one another to give one social group power over another, Baudry tries to account for how film technology has developed historically to place the film viewer into a specific relationship with the image that supports the dominant order. This essay also draws freely from the psychoanalytic studies of Jacques Lacan, especially his research of the 'mirror stage,' in which infants begin to see themselves as distinct entities within a larger world (Baudry will claim in this essay that film viewing reproduces certain conditions of the mirror stage). Overall, this work attempts to give a historical account of film technology that explains how film might be said to advance ideology.
--Matt Lavine communism Marx, Karl theory values postmodernism motion pictures Marxism ideology Jackson, Gordon motion pictures and popular culture motion pictures, and ideology ideology, and motion pictures values, and motion pictures values motion pictures, and values motion pictures, and bias values, and technology postmodernism, and motion pictures motion pictures, and postmodernism Marxism, and motion pictures motion pictures, and Marxism motion pictures, and theory theory, and motion pictures values Lavine, Matt motion pictures, and ideology Lacan, Jacques Althusser, Louis motion pictures, and technology Baudry, Jean-Louis Ideological Effects of the Basic Cinematic Apparatus 4290 Bauer, Martin Resistance to new technology and its effects on nuclear power, information technology and biotechnology Martin Bauer, ed. Resistance to new technology: nuclear power, information technology and biotechnology New York Cambridge University Press
1995
1-41 This introductory essay sets out the issues to be considered in this work. The focus, as the title suggests, is on three base technologies in the post-1945 era: nuclear power, information technology, and biotechnology. Here Bauer points to similarities in the development of these three technologies, and the forms that resistance to each has taken. technology computers USSR interactivity modernism modernity modernism communication revolution genetics community democracy non-USA values semiconductors progress Luddism Information Age Industrial Revolution artificial intelligence and biotechnology biotechnology information age, and resistance to technology, and resistance to Luddism Great Britain Japan Australia Switzerland Soviet Union, and Chernobyl Germany Europe France, resistance to technology semiconductors, and France interactive media biotechnology, and regulation (1970-86) Industrial Revolution, and Great Britain progress, and history of Luddism, and Great Britain genetic engineering communication revolution values, and biotechnology values, and information technology values, and nuclear energy Ford, Henry technology and society culture, and resistance to technology democracy and media modernity Soviet Union culture Japan France semiconductors, and Japan critics computers and the Internet biotechnology, and regulation Bauer, Martin Resistance to new technology and its effects on nuclear power, information technology and biotechnology 2580 Bauer, Martin ed. Resistance to new technology: nuclear power, information technology and biotechnology (conference proceedings) New York Cambridge University Press
1995
This book is a collection of papers given at a conference in London in April, 1993, on “Resistance to New Technology -- Past and Present.” About 150 people from twenty countries attended the meeting.
The conference had three objectives: 1) to assess the nature of resistance in the recent past; 2) to make comparison between different technologies within this context; 3) “to think about, and work towards, a functional analysis of resistance in the process of technological development. The meeting provided material to overcome the technocratic bias according to which resistance is nothing but a nuisance in the technological process.”
The book focuses on three major post-1945 developments: nuclear power, innovations in computers and information technology, and biotechnology. The work’s attention is mainly, although not exclusively, on Europe. “In making comparisons the contributions reach out historically to the origins of the idea of ‘progress’ and the Luddite revolt of the early nineteenth century, and geographically to Australia, North America and Japan. The scope of the book prohibits the inclusion of several dimensions of the problem of resistance worth mentioning. First, the book excludes the problems of resistance or non-resistance to new technology in authoritarian and totalitarian systems such as Eastern Europe between 1945 and the collapse of communism, the USSR, or China. Secondly, it excludes the problem of resistance to new technology in developing regions such as South America, India and South East Asia....”
The publisher summarizes this book as follows:
“This book compares resistance to technology across time, nations and technologies. ... The focus is on post-1945 Europe, with comparisons made with the USA, Japan and Australia. Instead of assuming that resistance contributes to the failure of a technology, the main thesis of this book is that resistance is a constructive force in technological development, giving technology its particular shape in a particular context. Whilst many people still believe in science and technology, many have become more skeptical of the allied ‘progress’. By exploring the idea that modernity creates effects that undermine its own foundations, forms and effects of resistance are explored in various contexts.
This interdisciplinary work includes essays by sociologiests, political scientists, historians, and psychologists.
The volume includes the following essays: Martin Bauer’s Preface, “Resistance to new technology and its effects on nuclear power, information technology and biotechnology.” In Part I (“Conceptual Issues”), papers include:
Alain Touraine, “The crisis of ‘Progress’”;
Adrian Randall, “Reinterpreting ‘Luddism’: resistance to new technology in the British Industrial Revolution”;
Dancker D L. Daamen and Ivo a Van Der Lans, “The changeability of public opinions about new technology: assimilation effects in attitude surveys”;
Martin Bauer, “‘Technophobia’: a misleading conception of resistance to new technology.”
Part II deals with “Case studies” in Scandinavia, Australia, Great Britain, and the United States (see John Staudenmaier, “Henry Ford’s relationship to ‘Fordism’: ambiguity as a modality of technological resistance.”
Part III is entitled “International comparisons.” Essays in this section include:
Antonio J. J. Botelho, “The politics of resistance to new technology: semiconductor diffusion in France and Japan until 1965";
Ian Miles and Graham Thomas, “User resistance to new interactive media: participants, processes and paradigms”;
Dieter Rucht, “The impact of anti-nuclear power movements in international comparison”;
Robert Bud, “In the engine of industry: regulators of biotechnology, 1970-86";
Sheila Jasanoff, “Product, process, or programme: three cultures and the regulation of biotechnology.”
Part IV is “Comparison of different technologies”:
Joachim Radkau, “Learning from Chernobyl for the fight against genetics? Stages and stimuli of German protest movements -- a comparative synopsis”;
Hans Mathias Kepplinger, “Individual and institutional impacts upon press coverage of sciences: the case of nuclear power and genetic engineering in Germany”;
Dorothy Nelkin, “Forms of intrusion: comparing resistance to information technology and biotechnology in the USA.”
Bauer’s Afterword is entitled “Towards a functional analysis of resistance.” technology computers USSR interactivity modernism modernity modernism communication revolution genetics community democracy non-USA values semiconductors progress Luddism Information Age Industrial Revolution artificial intelligence and biotechnology biotechnology information age, and resistance to technology, and resistance to Luddism Great Britain Japan Australia Switzerland Soviet Union, and Chernobyl Germany Europe France, resistance to technology semiconductors, and France interactive media biotechnology, and regulation (1970-86) Industrial Revolution, and Great Britain progress, and history of Luddism, and Great Britain genetic engineering communication revolution values, and biotechnology values, and information technology values, and nuclear energy Ford, Henry technology and society culture, and resistance to technology democracy and media modernity Soviet Union culture France Japan semiconductors, and Japan critics computers and the Internet biotechnology, and regulation Bauer, Martin ed. Resistance to new technology: nuclear power, information technology and biotechnology (conference proceedings) 42800 Baughan, E. A. The Art of Moving Pictures Fortnightly Review
Sept. 1919
112 448-56 Baughan starts by saying that movies, which are shown in semi-darkness, have "a curious hypnotic effect" and that they engage "the mind agreeably." (448) But there is more that explains their appeal because "that hypnotic calm, produced by music and the bewildering rapidity of the pictures, is not the chief reason for the popularity of the cinematograph. It has opened a new world to those who do not read or who cannot afford to go to a theatre except in discomfort, and it has opened a different world." (448)
Baughan believed that some movies had were educational and that the educational potential of film had scarcely been touched. Motion pictures were also a powerful form of propaganda. "As a medium for propaganda its powers give one pause. The newspaper is ineffectual compared with it...." (449) Despite efforts to uses the talents of artists, writers, and dramatists, the artists side of cinema was "in a state of chaos." (449)
The author explains the difference between a novel or play and a motion picture which he believes is a "very different medium of expression." (450) It is difficult for the filmmaker to enter into psychoanalysis on screen. "Psychological suggestion is not impossible on screen," (451) provided the actor has the talent to pull it off. Baughan says that "the cinematograph has nothing to do with words." (451) "The real aim of the cinematograph is not to tell a tale, but to show one. Pictures in action are its medium of expression. They may and do suggest words, but the spectator must make them for himself. A novel, on the other hand, may suggest pictures by means of words -- just the opposite of the cinematograph -- but that depends on the imagination of the reading. Drama gives you both pictures and words, but then it lacks the power of explanation of the novel and the cinematograph, and is fenced round by all kinds of difficulties of time and space...." (451) The "novel describes; the camera depicts," Baughan said. (452) Moving pictures have "unlimited possibilities" (451) in turning out travel pictures.
Baughan commented on film acting and its magnification of personality. "Film-acting is a very subtle art, differing in many respects from stage-acting. A player in a theatre has to condition his art by the distance the audience is from him. The film-player, on the other hand, is quite close to the camera in thos pictures which are not merely landscapes and interiors with figures. The photograph when projected on the screen is vastly magnified. The faintest twitching of the lips can be seen quite plainly. Also it is possible to touch up negatives so that the expression is intensified. The stage-player has an audience which, to a great extent, reacts on him; the film-player acts without spectators. The absence of the voice as a medium of expression is a great loss to the film-player; but, on the other hand, he is free from the paralysing sensation that his acting is not 'getting over' the footlights. Although a film-actor has to learn how to carry himself, and, above all, how to keep these movements in a tempo considerably slower than normal (for the cinematograph exaggerates the quickness of movement), yet his principal aim should be naturalness. Given an expression face and, of course, imagination, and the necessary training of gesture, and the camera will do the rest. (454)
"The two arts of film acting and stage actors are very different, "but of screen-acting one can at least say that it has unlimited powers of expression. The difficulty is to give full scope to these powers. Being divorced from words, a dramatic crisis must necessarily be more brief than on the stage. Also it must be such a crisis that words are not necessary. The film-producer has not quite understood that, or perhaps his art is conditioned by the poor standard of intelligence in the average lover of the moving pictures...." (454) Further commenting on movie audiences, the author says that "the trouble at present is that the cinematogrph does not attract the most intelligent type of people." (455) Too many movies "continue to be made that are inspired by nothing but stupidity and brutality." (455) Such movies are not so much immoral as they "pander to the love of brutality that lurks beneath what we are pleased to call civilisation." (456)
Movie making needs to attraction more intelligent people. "The technical side of the cinematograph is in its infancy, comparatively speaking. The best brains of the world must in the end be attracted to an art which makes such a powerful appeal to democracy. The intellectual rulers of mankind cannot afford to ignore an art which appeals to millions and speaks a universal language to all the peoples of the world." (456)
Baughan starts by saying that movies, which are shown in semi-darkness, have "a curious hypnotic effect" and that they engage "the mind agreeably." (448) But there is more that explains their appeal because "that hypnotic calm, produced by music and the bewildering rapidity of the pictures, is not the chief reason for the popularity of the cinematograph. It has opened a new world to those who do not read or who cannot afford to go to a theatre except in discomfort, and it has opened a different world." (448)
Baughan believed that some movies had were educational and that the educational potential of film had scarcely been touched. Motion pictures were also a powerful form of propaganda. "As a medium for propaganda its powers give one pause. The newspaper is ineffectual compared with it...." (449) Despite efforts to use the talents of artists, writers, and dramatists, the artistic side of cinema was "in a state of chaos." (449)
The author explains the difference between a novel or play and a motion picture which he believes is a "very different medium of expression." (450) It is difficult for the filmmaker to enter into psychoanalysis on screen. "Psychological suggestion is not impossible on screen," (451) provided the actor has the talent to pull it off. Baughan says that "the cinematograph has nothing to do with words." (451) "The real aim of the cinematograph is not to tell a tale, but to show one. Pictures in action are its medium of expression. They may and do suggest words, but the spectator must make them for himself. A novel, on the other hand, may suggest pictures by means of words -- just the opposite of the cinematograph -- but that depends on the imagination of the reading. Drama gives you both pictures and words, but then it lacks the power of explanation of the novel and the cinematograph, and is fenced round by all kinds of difficulties of time and space...." (451) The "novel describes; the camera depicts," Baughan said. (452) Moving pictures have "unlimited possibilities" (451) in turning out travel pictures.
Baughan commented on film acting and its magnification of personality. "Film-acting is a very subtle art, differing in many respects from stage-acting. A player in a theatre has to condition his art by the distance the audience is from him. The film-player, on the other hand, is quite close to the camera in thos pictures which are not merely landscapes and interiors with figures. The photograph when projected on the screen is vastly magnified. The faintest twitching of the lips can be seen quite plainly. Also it is possible to touch up negatives so that the expression is intensified. The stage-player has an audience which, to a great extent, reacts on him; the film-player acts without spectators. The absence of the voice as a medium of expression is a great loss to the film-player; but, on the other hand, he is free from the paralysing sensation that his acting is not 'getting over' the footlights. Although a film-actor has to learn how to carry himself, and, above all, how to keep these movements in a tempo considerably slower than normal (for the cinematograph exaggerates the quickness of movement), yet his principal aim should be naturalness. Given an expression face and, of course, imagination, and the necessary training of gesture, and the camera will do the rest. (454)
"The two arts of film acting and stage actors are very different, "but of screen-acting one can at least say that it has unlimited powers of expression. The difficulty is to give full scope to these powers. Being divorced from words, a dramatic crisis must necessarily be more brief than on the stage. Also it must be such a crisis that words are not necessary. The film-producer has not quite understood that, or perhaps his art is conditioned by the poor standard of intelligence in the average lover of the moving pictures...." (454) Further commenting on movie audiences, the author says that "the trouble at present is that the cinematograph does not attract the most intelligent type of people." (455) Too many movies "continue to be made that are inspired by nothing but stupidity and brutality." (455) Such movies are not so much immoral as they "pander to the love of brutality that lurks beneath what we are pleased to call civilisation." (456)
Movie making needs to attraction more intelligent people. "The technical side of the cinematograph is in its infancy, comparatively speaking. The best brains of the world must in the end be attracted to an art which makes such a powerful appeal to democracy. The intellectual rulers of mankind cannot afford to ignore an art which appeals to millions and speaks a universal language to all the peoples of the world." (456) reading motion pictures words vs. images motion pictures, and reading education education, and motion pictures motion pictures, and education motion pictures, as hypnotic motion pictures, and words motion pictures, and reading reading, and motion pictures motion pictures, and stage motion pictures, and theater motion pictures, and acting motion pictures, and motion pictures motion pictures, and magnification of personality motion pictures, and close-ups acting, and close-ups motion pictures, as universal language actors, and magnification of personality children and media motion pictures, and children children, and motion pictures motion pictures, and propaganda propaganda propaganda, and motion pictures motion pictures, and travel motion pictures, and audiences democracy motion pictures, and democracy democracy, and motion pictures acting actors children images vs. words Baughan, E. A. The Art of Moving Pictures 6550 Baughman, James L. The Republic of Mass Culture: Journalism, Filmmaking, and Broadcasting in America since 1941 Baltimore The Johns Hopkins University Press
1992
Although this book discusses several media, television is at the core of this study. Baughman writes: “During the second half of the twentieth century, the American mass media underwent an extraordinary transformation. A new mass medium, television, quickly proved the most popular of the public arts. Americans who had once spent their evenings using a variety of mass media -- films, newspapers, periodicals, and radio -- were likely by the mid- and late-1950s to watch television. People still went to the movie house, read a daily paper or a magazine, and listened to a radio program, but the amount of time they devoted to each activity declined, in some cases dramatically.” law values television general studies motion pictures radio books, periodicals, newspapers regulation values, and media censorship and ratings Baughman, James L. The Republic of Mass Culture: Journalism, Filmmaking, and Broadcasting in America since 1941 33040 Baughman, James L. Same Time, Same Station: Creating American Television Baltimore Johns Hopkins University Press
2007
The early days of television were fraught with experimentation by networks, regulators and other mass media industries. Competing philosophies among the network front-runners led to a variety of show types and a race for audience cultivation. Meanwhile, regulators were forced to choose between enforcing network commitment to public service programming and ensuring ubiquitous public access to the new medium. Film and, to a lesser extent, radio and newspapers adapted themselves to complement, rather than compete with, the new broadcast network. While evolving technology and viewer preferences significantly impacted the direction of the American system of broadcasting, advertisers played perhaps the most influential role. Through their direct involvement in programming, their dependency upon the most far-reaching medium of the time but mostly through their choice of which programs to support, advertiser influence on networks have made American TV what it is.
As television spread to major cities and then to all corners of the country, preferences of the television audience were sounded through network programming experiments. A variety of shows were produced, and not all of those that were to remain standing tropes of television appeared as successes early on. Both networks and advertisers spent the early years of television trying to figure out not only what the audience liked, but who the audience was and how to expand the latter.
The competing schedules of the Big Two early TV networks (CBS and NBC) were partially accounted for by practical reasons of investment opportunities and counter-programming strategies. But they were also a product of distinctly different philosophies of the network executives. Ultimately, mass entertainment prevailed over high culture or news programming due to viewer and advertiser preference as well as the pressures of competition and profit-making.
As the regulations and structures of radio were transferred to television, problems of public access and network competition were almost inevitable. While broadcasters were overwhelmingly conscious of a civic duty demanding high standards and public service programming, the commercial pressures of competition were something neither morals nor governmental regulation were able to completely overcome.
The cultural values expressed in early television programming were a direct import of the norms of radio broadcasting. Dominated by a house-guest mentality, broadcasters were careful not to offend neither the (active) listener audience nor the political elites of Congress and the FCC.
Even before television, advertisers had played a major role in sponsoring America’s mass media. With television, advertisers actually lost some of the control over programming that they’d had with radio, as expensive programs demanded multiple sponsors and less oversight. However, advertisers still had a strong say in what went on air and, through their patronage, encouraged less competition between networks in order to reach the largest possible audience. Only after the commercial sponsorship system was firmly entrenched did advertisers begin to consider targeted demographic in conjunction with broadest possible appeals.
Television news began at a time of changing standards for broadcast reporting, facilitated by the demands created by World War II and the Korean War. However, public demand for television news was slight at best, and that usually only when the news contained some inherent drama. Networks produced news mostly to cultivate goodwill among political leaders; but while quality did increase in the 1950s, television never established itself as the dominant medium of news.
The film industry was a late entrant to the television age, initially anticipating as many did that the TV fad could not compete with theaters. Eventually, though, the two industries began to work together, sharing technology and performers. Executives slowly discovered the profitability of reruns and TV movies, and partnerships with Hollywood studios proved a boon whenever networks struggled.
--Dale Erlandson Erlandson, Dale television motion pictures television, and motion pictures news and journalism television, and news journalism, and television censorship and ratings television, and censorship censorship, and television advertising and public relations television, and advertising advertising, and television public relations, and television television, and public relations FCC television, and FCC FCC, and television democracy education television, and democracy democracy, and television education, and television television, and education advertising censorship journalism public relations Baughman, James L. Same Time, Same Station: Creating American Television 6560 Baughman, James L. Television’s Guardians: The FCC and the Politics of Programming, 1958-1967 Knoxville University of Tennessee Press
1985
; media effects See also: media convergence See also: mass media Why has the United States had “the least regulated broadcasting system of any modern democracy,” Baughman asks? This work argues that the Federal Communications Commissions was often ineffective because of political opposition in Washington, not because it was controlled by broadcasters. Such liberal FCC chairs as Newton Minow and E. William Henry, who succeeded Minow, had their initiatives to regulate television frustrated “by jealous members of Congress and cautious Presidents.” During the late 1960s, widespread dissatisfaction with the commercial networks led to the establishment by Congress of the Public Broadcasting System. By the late 1970s and early 1980s, conservatives and liberals alike called for abolishing the FCC. Federal Communications Commission (FCC) regulation censorship and ratings regulation community democracy law media television regulation television, and regulation Minow, Newton Henry, E. William public broadcasting FCC democracy and media censorship Baughman, James L. Television’s Guardians: The FCC and the Politics of Programming, 1958-1967 40 Baxter, James Phinney 3rd Scientists Against Time Boston Little, Brown and Company
1946
Vannevar Bush assigned Baxter to write this official history of the Office of Scientific Research and Development during World War II. The book attempts to survey the range of scientific advances during the war: chemistry, military medicine, the development of the atomic bomb. Some material here relates to communication. For example, Part II (“New Weapons and Devices”) has chapters on radar, sonar, and rocketry, as well as the proximity fuse. There are also pages on high altitude communication, VHF, and “speech secrecy systems.” R & D atomic power research and development war war general studies Bush, Vannevar World War II military communication radar sonar rocketry VHF Office of Scientific Research and Development research and development World War II, and research and development atomic bomb nuclear weapons proximity fuse aeronautics and space communication atomic energy Baxter, James Phinney 3rd Scientists Against Time 2620 Bazin, André Three Essays on Widescreen Velvet Light Trap
Summer 1985
21 8-16 See filed under Velvet Light Trap. In these three essays, Bazin considers widescreen motion pictures in the context of the threat posed to cinema by television. The essay reprinted are "Will CinemaScope Save the Cinema" (1953), "The End of Montage" (1954), and "A Little too Late" (1955). widescreen theory seeing at a distance postmodernism modernism motion pictures motion pictures and popular culture motion pictures, and widescreen widescreen, and motion pictures theory, and motion pictures motion pictures, and theory theory, and widescreen cinema critics new way of seeing Bazin, André Three Essays on Widescreen 3350 Beale, Alison Harold Innis and Canadian Cultural Policy in the 1940s Continuum: The Australian Journal of Media & Culture
1993
7 1 75-90 This article examines Innis's comments and work on behalf of Canadian arts and sciences. nationalism education non-USA Innis, Harold nationalism and communication Canada Canada, and Harold Innis nationalism, and education nationalism, and Canada Canada, and nationalism education, and nationalism Innis, Harold, and nationalism Beale, Alison Harold Innis and Canadian Cultural Policy in the 1940s 4980 Beam, Alex A Great Idea at the Time: The Rise, Fall, and Curious Afterlife of the Great Books New York Public Affairs
2008
A Great Idea at the Time is a narrative that discusses the long and tortuous history of the “Great Books” idea in America. Beam focuses on Robert Hutchins and Mortimer Alder, the two prime advocates of a Great Books curriculum in American higher education. Beam spends the early part of his book discussing the Great Books idea in both higher education and adult/extension education during the 1930s and 1940s.
The second part of A Great Idea at the Time is devoted largely to the publishing history of the Great Books collection, and all the trials and tribulations that resulted. Beam also examines why the Great Books were as popular as they were during the 1930s, 1940s and 1950s.
The last section of the book examines the Great Books idea today, particularly their downfall in academia and their role in the “Culture Wars.” Beam also places himself squarely in the narrative by visiting a Great Books discussion session as well as a college (St. John’s) devoted entirely to the Great Books.
-Ryder Kouba Kouba, Ryder Books, Periodicals, Newspapers Adler, Mortimer, and Great Books Hutchins, Robert, and Great Books education democracy children and media values, and Great Books information storage, and Great Books information storage values Adler, Mortimer Beam, Alex A Great Idea at the Time: The Rise, Fall, and Curious Afterlife of the Great Books 30040 Beck, Bob Creating 'Psychedelic' Visual Effects for The Trip American Cinematographer
March, 1968
49 3 176-79, 196-97 This article discusses the special effects for the movie "The Trip" (1967),and the efforts to recreate what an acid trip might look like to a LSD user. Peter Fonda and Susan Strasberg starred. The article notes that "Jack Nicholson's script called for considerable use of strobe lights in the nightclub sequence." (1976) Beck was an electronic and optical engineer who had been involved with "light shows" as a hobby and who pioneered techniques for the so-called "happenings" and discotheques of the mid-1960s. He discusses working with a 16mm camera in this movies. The movie attempted to capture the "visual illusions and the hallucinations which Peter Fonda experiences"(177) on an acid trip. Beck says that the movies tried "to use the classic dream images and symbols which had been researched by Dr. Karl Jung, the noted psychologist." (178)
The makers of this film make interesting psychological assumptions what their film techniques can accomplish. "The reason for the rapid flicker rate was psychological," Beck wrote. "Research on subliminal stimulation has shown that as little as one frame of a film, 1/24th of a second, of data can be registered by the unconscious mind and can cause an impression to be made on the consciousness of the beholder." (178) As for the movie's sex scenes: "A great deal of the sensuality which came through in the controversial love sequence was due to the art work of Dr. Henry Hill, the psychedelic artist, who granted us permission to photograph some of his paintings, which we then projected onto the bodies of the actors. It is undoubtedly this combination of art and life that caused film reviewer Richard Whitehall to say that these were the most sensual love scenes that he had ever seen on film." (178)
As for the techniques used in this movies, "such as the adjustment of light flickerings to the natural psychological constants of the epileptic flicker rate and the alpha rhythm of the brain, the emotional impact of a production can be greatly heightened -- especially in psychological terms. For these rapid images rush past the natural mental 'censors' (in the Freudian sense) and go directly into the unconscious, much in the manner of hypnosis. We are all well acquainted with the great amount of research done by psychologists in the area of subliminal psychopenetration. Yet this area of human capability has hardly been touched," Beck argued. (196-97)
Part of Beck's "fun and games" in this film, he said, was in "exploring ... techniques that might tap these basic unconscious wells of imagery." He was "convinced that the future of creative film production lies in this direction, and that many such techniques will be extensively explored in the future." (197) He lamented that his "light-show" techniques had been mislabeled "psychedelic." Of the so-called "happenings" of the mid-1960s, he referred to them as the "Theatre of the Now."
The treatment of drug use in this 1967 movies (which appeared after the demise of the motion picture Production Code) stands in contrast to Otto Preminger's 1955 black-and-white movie starring Frank Sinatra, The Man With the Golden Arm. For its time, Preminger's movie was a breakthrough in the way Hollywood treated drug addiction. sex motion pictures, and sexuality sexuality cinematography motion pictures cameras lighting sexuality special effects motion pictures, and lighting lighting, and motion pictures motion pictures, and special effects sexuality, and motion pictures motion pictures, and sexuality lighting, and sex scenes location shooting motion pictures, and location shooting movie, The Trip The Trip motion pictures, and drugs values sex scenes, and lighting lighting lighting, and sex scenes censorship and rating system (U. S.) history, and break with censorship, and motion pictures motion pictures, and censorship censorship, and special effects cameras cameras, 16mm 16mm cameras color color, and motion pictures color, and psychedelic effects subliminal stimulation motion pictures, and subliminal stimulation motion pictures, and psychology censorship and rating system (U. S.)s 16mm censorship history Beck, Bob Creating 'Psychedelic' Visual Effects for The Trip 30610 Beck, Robert C. Color Games: Light Show Manual Los Angeles Pericles Press
1967 (3d ed.)
1966 Robert C. Beck was an electronic and optical engineer who had pioneered techniques used in kaleidoscopic light shows that were in vogue among underground film makers and in West Coast discotheques during the mid- and late-1960s. Beck worked with producer-director Roger Corman in creating the special effects for the movie The Trip (1967), that starred Peter Fonda, and was about the psychedelic experience taking LSD. Beck had been involved with experimental cinema and was interested in what was then emerging as the “Theatre of the Now,” and had also been a technical adviser for film about Timothy Leary and LSD called Turn On, Tune In, Drop Out (United Productions of America, UPA,1967). This manual talks about how to set up light shows and where to get the appropriate equipment. It also has an essay by Dr. Henry Hill entitled "Color Games Traps," in which, a psychedelic artist who designed the cover of Beck's manual, talks about the psychological effects of light and color shows. censorship drug abuse color motion pictures motion pictures, and special effects special effects, and motion pictures motion pictures, and drugs drugs, and motion pictures Nicholoson, Jack Corman, Roger Hill, Henry, and psychedelic art color, and special effects special effects, and color censorship and ratings color, and media effects media effects, and color censorship, and color color, and censorship media effects special effects substance abuse Beck, Robert C. Color Games: Light Show Manual 35850 Becker, Bill Hollywood Specter: European Competition Worries Industry New York Times
June 26, 1960
X7 By 1960, the impact of runaway pictures and foreign films on American movie making was substantial. “Never has Europe affected Hollywood so much,” the New York Times reported in 1960. This article also quotes producer-director Mark Robson saying that in general, Europeans regard U. S. movies as "too slick" and "sterile." The author of this article then goes on to say that "Hollywood products often lack a point of view, and the films that attract the most interest abroad, he [Robson] said, are those that have been opposed by various pressure groups in the United States." , news motion pictures motion pictures, and American-interest films motion pictures, and labor labor motion pictures, and foreign markets motion pictures, and censorship censorship and ratings Becker, Bill Hollywood Specter: European Competition Worries Industry 23010 Becker, Judith Ellen Levine Statement of Dr. Judith Becker and Ellen Levine Final Report of the Attorney General's Commission on Pornography Nashville, TN Rutledge Hill Press
1986
540-46 This statement by two members of the Meese Commission disagreed with the conclusions of the majority. Becker, a behavior scientists, and Levine, a journalist, while noting the arrival of new media that easily delivered pornography to a wide public, nevertheless questioned whether researchers had established a causal link between watching pornography and violent acts. They also questioned the way in which the Commision defined pornography and categorized different types of pornography. entertainment computers video cassette recorders (VCRs) surveillance post office government hearings entertainment, home magnetic recording photography women, and new media social science research values privacy archives sexuality home entertainment government magnetic tape First Amendment media effects crime color freedom values religion censorship and ratings law cable home home, and new media home Meese Commission hearings pornography motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects media effects, and pornography pornography, and media effects pornography, defined children media effects, and children children, and pornography pornography, and children women women, and pornography pornography, and women religion, and pornography pornography, and religion personal computers personal computers, and pornography media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment pornography, and opponents pornography, and harmful effects crime, and pornography pornography, and crime privacy, and pornography pornography, and privacy Meese Commission, and critics computers and the Internet magazines satellites children, and media Ellen Levine Statement of Dr. Judith Becker and Ellen Levine 23000 Becker, Judith Ellen Levine Deanne Tilton-Durfee Statement of Judith Becker, Ellen Levine and Deanne Tilton-Durfee Final Report of the Attorney General's Commission on Pornography Nashville, TN Rutledge Hill Press
1986
540 Here three women members of the Meese Commission conclude on the basis of the evidence they have seen "that those who exploit women's vulnerability in the production or consumption of pornography are inflicting harm that profoundly violates the rights of women, damages the integrity of the American family and threatens the quality of life for all men and women." entertainment computers video cassette recorders (VCRs) surveillance post office government hearings entertainment, home magnetic recording photography women, and new media social science research values privacy archives sexuality home entertainment government magnetic tape First Amendment media effects crime color freedom values religion censorship and ratings law cable home home, and new media home Meese Commission hearings pornography motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects media effects, and pornography pornography, and media effects pornography, defined children media effects, and children children, and pornography pornography, and children women women, and pornography pornography, and women religion, and pornography pornography, and religion personal computers personal computers, and pornography media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment pornography, and opponents pornography, and harmful effects crime, and pornography pornography, and crime privacy, and pornography pornography, and privacy Meese Commission, and critics computers and the Internet magazines satellites children, and media Deanne Tilton-Durfee Statement of Judith Becker, Ellen Levine and Deanne Tilton-Durfee 2270 Becker, Jörg ed. Small Pulp and Paper Mills in Developing Countries New Delhi, India Concept Publishing Company
1991
Becker describes this work by saying that it “presents the results of two research projects which were undertaken separately, but which were related in content to each other.” Becker and English paper engineer Arthur W. Western supervised the projects which were undertaken for the German Agency for Technical Cooperation (GTZ). “The first project was an attempt to develop a model for the relationship between cultural paper and the Third World.... The second ... had a more concrete, practical orientation; together with colleagues from Third World countries, we aimed at the evaluation of paper mills which complied at least with the following two critieria: 1. annual production of approximately 10,000 tonnes, 2. using non-wood pulp as raw material.”
This volume assembles papers that emerged from the second GTZ project. They were first delivered at a workshop in New Delhi in April, 1988, entitled “Small Paper and Paper Mills in Developing Countries.” The work contains twenty-two essays divided under five headings: “General Situation,” The GTZ Project,” “Different Country Reports,” “Pollution Control and Process Technology,” and “Outlook.” Asia materials Third World non-USA materials paper Third World, and paper paper, non-wood pulp India India, and paper Burma Burma, and paper China China, and paper Germany Germany, and paper environment, and paper technology paper, and environment environment Becker, Jörg ed. Small Pulp and Paper Mills in Developing Countries 42530 Beckwith, Carroll Color Art World
Dec. 1917
3 176-79 James Carroll Beckwith (September 23, 1852 – October 24, 1917) was a well-known American portrait painter. This article was written shortly before his death. In the article, Beckwith advances of general rules for using color. He divides colors between warm and cold. (176)
Beckwith said that mastery of color came from the heart, not intellect. "Recently I was asked if there were 'intellect in color.' I am rather of the opinion that color is pure Emotion, as form and line are Mind. [my emphasis] One could be taught that certain combinations were harmonious and other were reverse; but the mastery of color must come from the heart, as the mastery 177/179 of drawing, form, finds its source in the brain. To attain completeness in our painter-art requires the amalgamation of these two forces which are in our nature." (177, 179)
This article was part of a symposium on color that appeared in this issue of Art World. emotion decadence color, in literature color, and research on color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and passion color, and sensations media effects color, media effects media effects, and color color, and sensuality lighting lighting, and color color, and lighting color, and music censorship color, as pure emotion color, and form color, and drawing Beckwith, Carroll Color 5620 Bedini, Silvio A. Thomas Jefferson and His Copying Machines Charlottesville University Press of Virginia
1984
Jefferson lived before the typewriter, carbon paper, and photocopying machines. How did he manage to preserve so much of his writing, Bedini asks. “Reviewing his writing tools and habits, it is surprising to learn that although he owned the most advanced writing tools of his time, including a ‘reservoir’ or fountain pen, he customarily used the common quill for most of his life. Writing was such an important activity in his life that he even designed furniture for the purpose. He as well as Benjamin Franklin and George Washington owned and used Watt copying presses, then considered the most innovative writing aid. Always alert to the new and experimental, however, Jefferson promptly abandoned his press for a new invention called the ‘polygraph,’ a writing machine which he continued to use for more than twenty years and which, of all his writing tools, he loved best and most intrigued him. Nonetheless, he never overlooked an opportunity to experiment with new writing and duplicating processes and devices as they became available.” This book uses correspondence between Jefferson, the manufacturer Charles Willson Peale, engineer Benjamin Henry Latrobe, and the inventor John Isaac Hawkins. The papers of Peale, Labrobe, and Jefferson are among the primary collections used to document Jefferson preoccupation copying and duplicating. print presses duplicating technologies Jefferson, Thomas writing Latrobe, Benjamin Henry Peale, Charles Willson Hawkins, John Isaac writing machines, the polygraph presses, Watt writing machines writing print media Bedini, Silvio A. Thomas Jefferson and His Copying Machines 42890 Bedwell, Bettina 'Glamorous' Styles of Films Don't Flatter Average Girl Chicago Daily Tribune
Feb. 3, 1935
D 1-2 Bedwell notes that movie stars have a powerful influence on clothing styles. "...There are always ideals of clothes beauty -- ideals that vary with different strata of society. The stars of the cinema have become one of the most potent sources of clothes idealism for great masses of women." (1)
Bedwell quotes Robert Edmond Jones on the power of beautiful film stars. "As Robert Edmond Jones wrote: 'Unreal, intangible as they are, they have in some curious way the power to enthrall our imaginations.' And, 'Watching them we slip insensibly over the border into a day dream where they work their spells upon us.' True indeed. And the wish to snatch some of this magic of the stars, and add it to our own lives, is what supplies the potency to styles worn by the stars. Another reason, almost as powerful, is the frequency with which these glamorous beings, in their glamorous clothes, are to be seen by women everywhere." (1)
Bedwell concludes by saying that "By bring to the movies your mind and eyes, clear of unwise glamor, you can learn to dress yourself with infinitely more effect in the world where you are a star." (2) Jones, Robert Edmond censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color color, and primitives color, and cinematographers color, and novelty color, and Robert Edmond Jones Jones, Robert Edmond, and color color, and emotions actors acting actors, and magnifying personality acting, and magnifying personality color, and magnifying personality acting, and eyes color, and eyes color, and personality motion pictures, and magnifying personality color, and lighting lighting motion pictures, and lighting Jones, Robert Edmond, and beautiful girls capitalism capitalism, and movie stars Bedwell, Bettina 'Glamorous' Styles of Films Don't Flatter Average Girl 40290 Beebe-Center, J. G. Leonard Thompson Troland: 1889-1932 American Journal of Psychology
Oct. 1932
44 4 817-20 This obituary of Leonard T. Troland provides an excellent account of his scholarly career. Troland achieved distinction in two distinct areas. One was psychology where he was a professor at the time of his death. As a graduate student between 1912 and 1915, he worked with Hugo Munsterberg and E. B. Holt. He also took classes with Bertrand Russell and Josiah Royce. The other area of distinction for Troland was in theoretical and applied physics. As a undergraduate he took courses on optics with D. F. Comstock, and later co-author a book with Comstock entitled The Nature of Matter and Electricity. Troland worked with Comstock, Herbert Kalmus, and others to become a co-inventor of Technicolor. At the time of his untimely death in 1932, Troland was working for Technicolor, Inc. Technicolor, and L. T. Troland Technicolor Münsterberg, Hugo Troland, Leonard color Troland, Leonard, and color color, and Leonard Troland Troland, Leonard, and visual sensation color, and media effects media effects media effects, and color Troland, Leonard, and hedonism Troland, Leonard, and sexuality sexuality sexuality, and Leonard Troland Troland, Leonard, and Technicolor Technicolor, and Leonard Troland Troland, Leonard, and Hugo Munsterberg Munsterberg, Hugo, and Leonard Troland Troland, Leonard, and psychology Troland, Leonard, and physics Troland, Leonard, and obituary obituaries, and Leonard Troland Troland, Leonard, and motion pictures Troland, Leonard, and death obituaries, and Leonard Troland Troland, Leonard, and obituary Munsterberg, Hugo Beebe-Center, J. G. Leonard Thompson Troland: 1889-1932 38700 Beerbohm, Max Actors Max Beerbohm More New York John Lane Company
1899
29-35 In this chapter, Max Beerbohm discusses actors. The actor, "having to devote all his time to the development of his emotions, is the least logical creature in the world, and the least likely to be comforted by nice distinction. He cannot detach himself, as you detach him, from his work. ... So far as he is concerned -- and I am here concerned for him and his feelings -- 'in criticising his work, you criticse, also, him.' Wonder not at his sensitiveness!" (30)
Beerhohm comments on the actor and fame. "As a matter of act, actors are no more desirous of irrelevant fame than are any other artists. It is the public which wishes quite naturally, to know all about them. The journalists, quite naturally, seek to gratify the public." (31)
The author notes that the way actors perform has much to do with the how they are received by the public. "At first, the actor was but an inanimate medium, a masked convention.... But, as time went on, the Athenians began to listen not merely to the words, but also to the manner of their recital. One actor was preferred to another by reason of his ampler gesture or his more significant appeal. We know that, in the decadence, he overshadowed the dramatist, and had plays 'written round' him, quite in the modern way...." (32)
In a time before actors had become immortalized on film, Beerhohm comments on the nature of the actor's fame. "The actor's art is evanescent, and he must needs, therefore, be rather hectic in his desire for fame. Good books and good pictures are monuments, which, once made, are always there and may take fresh garlands; but the actor's finest impersonation, repeated night after night, is a thing of no substance, exists not but from his lips, perishes with him. Other artists can afford to wait. It is not only that they, as men who work not in the actual presence of the public, value praise less highly; it is also that their art will endure. For them the immediate verdict is not irrevocable. Time turns their rude public into a polite posterity. But it is 'now or never' with the actor. One know knows how the gayest assemblage of youth may be chilled by a reference to Macready or Edmund Kean. Theatrical reminiscences is the most awful weapon in the armoury of old age.... it is curiously exasperating to hear about a great actor whom we have 33/34 not seen. So far from honouring, we abominate, his memory. Actors are like pet-birds. When a pet-bird dies, there may be, for those who knew it in the day of its song and it ruffling plumage, some poor comfort in the sight of its stuffed body. For others, there is only a sense of depression. The most unsuccessful 'super' on the stage may always console himself with the thought that he is, as least, a cut above David Garrick." (33-34) Beerbohm says that "Their art dies with them, but I think that in the immediateness, the directness of their fame, they are supremely recompensed." (34) "Even the writings of William Shakespeare will perish in the next ice-age. The whole history of this world is but as a moment in eternity, and happy is that man whose fame is the accompaniment of his own life. Such a man is the actor. Do not grudge him his honours. Do not blame him for his love of them. Ponder my formula, 'and, look you! mock him not!'" (35) theater stage journalism fame celebrity critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater celebrity culture theater and stage motion pictures, and stage stage, and motion pictures celebrity, and actors actors, and celebrity fame, and actors actors, and fame actors acting actors, and fame before movies actors, and status of news and journalism actors, and journalists journalism, and actors personality actors, and personality personality, and actors motion pictures Beerbohm, Max Actors 38640 Beerbohm, Max Playgoing Max Beerbohm Mainly on the Air London Heinemann
1946, 1957
52-60 This essay, or better broadcast, was originally delivered on Sunday, October 8, 1945. Beerbohm says that “Actors and actresses were certainly regarded with far greater interest than they are nowadays. The outstanding ones inspired something deeper than interest. It was with excitement, with wonder and with reverence, with something akin even to hysteria, that they were gazed upon. Some of the younger of you listeners would, no doubt, interrupt me if they could at this point by asking, “But surely you don’t mean, do you, that our parents and grandparents were affected by them as we are by cinema stars?’ I would assure you that 52/53 those idols were even more ardently worshipped than are yours. Yours after all, are but images of idols, mere shadows of glory. Those others were their own selves, creatures of flesh and blood, there before your eyes. They were performing in our presence. And of our presence they were aware. Even we, in all our humility, acted as stimulants to them. The magnetism diffused by them across the footlights was in some degree our own doing. You, on the other hand, having nothing to do with the performances of which you witness the result. These performances or rather these innumerable rehearsals took place in some faraway gaunt studio in Hollywood or elsewhere, months ago. Those moving shadows will be making identically the same movements at the next performance or rather at the next record; and in the inflexions of those voice enlarged and preserved for you there by machinery not one cadence will be altered. Thus the theatre has certain advantages over the cinema, and in virtue of them will continue to survive. But the thrill of it is not quite what it was in my young days.” (52-53)
Beerbohm noted that anti-theatrical bias existed. "In those piping days of yore, there was in playgoing a spice of adventure, of audacity. The theatre was frowned on by quite a large part of the community. The Nonconformist Churches were, without exception, dead against it. Ministers of even the Church of England were very dubious about it and never attended it. Players were no longer regarded in the eighteen-eighties and 'nineties as rouges and vagabonds, but the old Puritan prejudice against them still flourished." (53) He notes that his brother Herbert Beerbohm Tree had been a well-known actor and only when he became a manager in 1887 did his status rise. "An actor-manager could be mentioned quite frankly, and even with awe." (54)
Beerbohm made a perceptive observation about the difference in reading a book and watching a play. "Indeed, I have a sort of feeling that one can appreciate ideas, is more susceptible to them and better able to grapple with them, when they are set forth in a book that one is reading by one's own fireside than when they are mooted to an auditorium. One can pause, can linger.... I have a notion that the drama is, after all, essentially a vehicle for action (for drama, as the Greeks quite frankly called it), is essentially, or at least mainly, a think to cause the excitement of pity and awe, or of terror, or of laughter, rather than to stimulate one's ratiocinative faculties. The theatre, I would say, is a place for thrills. You may, of course, be thrilled at your fireside by a book of philosophy or of history. You are still more likely to be so by a fine work of fiction. But the characters in a novel are not there before your very eyes, saying and doing things in your very presence. The novelist's power to startle you, or to hold you in breathless suspense, is a slight one in comparison with the dramatist's. All ... my memories of the theatre are memories of stark 'situations' -- the 59/60 appearance of the Ghost on the battlements at Elsinore; or the knocking at the gate while Duncan is murdered, and the repetition of that knocking...." (59-60) theater children critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater motion pictures Great Britain, and motion pictures Great Britain, and audiences audiences Great Britain non-USA non-USA, and audiences audiences, and motion pictures motion pictures, and audiences theater and stage motion pictures, and theater theater, and motion pictures movie stars actors, and status of motion pictures, and movie stars theater and stage, and stars children and media media effects children, and motion pictures motion pictures, and sociology media effects, and children children, and media effects motion pictures, and children audiences, and actors audiences, and movie stars motion pictures, and art images vs. words words vs. images acting actors theater Beerbohm, Max Playgoing 11920 Beers, Henry Putney Bibliographies in American History, 1942-1978 Woodbridge, CT Research Publications, Inc.
1982
2 volumes This un-annotated two-volume bibliography has 11,784 entries, a detailed index, and attempts to cover the entire scope of American history. It is a continuation of a work first published in 1942 and reprinted in 1959 and 1973. This edition contains the titles in the earlier editions plus new entries. The compilation took place mainly in the Library of Congress, the National Agricultural Library, the National Archives Library, the Department of Justice Library, and at Georgetown University Library. Numerous entries relate to history of new communication technologies. Themes covered include aeronautics, aviation, satellites, photography, radio, sound recording, photocopying, phonograph records, television, paper, books, newspapers, microfilm, electricity, information storage and libraries, magazines, motion pictures, and more. technology R & D science magnetic recording photography women, and new media technology, and bibliographies and society print research and development war microfiche, microfilm, microform news and journalism books, periodicals, newspapers archives materials materials magnetic tape law law news and journalism war non-USA bibliographies bibliographies, and eronautics bibliographies, and satellites bibliographies, and photography bibliographies, and radio bibliographies, and sound recording bibliographies, and photocopying bibliographies, and phonograph bibliographies, and phonograph records bibliographies, and television bibliographies, and paper bibliographies, and books bibliographies, and magazines bibliographies, and microfilm bibliographies, and electricity bibliographies, and libraries bibliographies, and information storage bibliographies, and technology, and bibliographies bibliographies, and Ph.D. bibliographies, and cartography bibliographies, and Canada bibliographies, and chapbooks bibliographies, and copyright bibliographies, and medical data banks bibliographies, and motion pictures bibliographies, and Europe bibliographies, and science fiction bibliographies, and geography bibliographies, and communication bibliographies, and printing bibliographies, and prints bibliographies,and Latin America bibliographies, and law bibliographies, and microform bibliographies, and military communication bibliographies, and newspapers bibliographies, and transportation bibliographies, and railroads bibliographies, and women bibliographies, and World War II bibliographies, and World War I bibliographies, and videotape aeronautics and space communication satellites photography and visual communication radio sound recording photocopying phonograph television paper books books, periodicals, newspapers magazines microfilm electricity libraries information storage technology, and bibliographies cartography Canada chapbooks copyright medicine medical data bases motion pictures Europe science fiction geography printing prints Latin America law microform military communication newspapers transportation railroads women World War II World War I videotape duplicating technologies future and science fiction future news technology and society Beers, Henry Putney Bibliographies in American History, 1942-1978 11520 Bell, Daniel The Coming of Post-Industrial Society A Venture in Social Forecasting New York Basic Books
1973
In the 1976 Foreword to this book, Bell wrote“In a narrower, technical sense, the major problem for the post-industrial society will be the development of an appropriate ‘infrastructure’ for the developing compunications networks (the phrase is Anthony Oettinger’s) of digital information technologies that will tie the post-industrial society together. The first infra-structure in society is transportation -- roads, canals, rail, air -- for the movement of people and goods. The second infra-structure has been the energy utilities -- oil pipeline, gas, electricity -- for the transmission of power. The third infra-structure has been telecommunications, principally the voice telephone, radio, and television. But now with the explosive growth of computers and terminals for data (the number of data terminals in use in the United States went from 185,000 in 1970 to 800,000 in 1976) and the rapid decrease in the costs of computation and information storage, the question of hitching together the varied ways information is transmitted in the country becomes a major issue of economic and social policy.
“The ‘economics of information’ is not the same character as the ‘economics of goods,’ and the social relations created by the new networks of information (from an interactive research group communication created by national television) are not the older social patterns -- or work relations -- of industrial society. We have -- if this kind of society develops -- the foundations of a vastly different kind of social structure than we have previously known.” One example of the way in which cheap communication created new social patterns was the use of citizen band radio, which became something of a fad during the mid-1970s.
Two ways contemporary society differed from earlier eras was in the pace of change and in the “change of scale,” Bell said. “These two concepts -- the pace of change and the change of scale -- are the organizing idea for the discussion of the central structural components of the post-industrial society, the dimensions of knowledge and technology.” Chapter 3 deals with “The Dimensions of Knowledge and Technology The New Class Structure of Post-Industrial Society.”
Bell said that technology had been a major factor in creating “the radical gap between the present and the past.” He offered five ways in which it had created this gap 1) it had raised the standard of living by creating more goods and reduced cost; 2) it had created a new class of engineers and technicians; 3) it created a new definition of rationality emphasizing functional relationships and quantitative techniques; 4) revolutions in communication and transportation had created new social relationships and economic interdependencies; and 5) “esthetic perceptions, particularly of space and time, have been radically altered.”
This book considers a good deal more than communication, but new ways of communicating were important to understanding the nature of post-industrial society, Bell believed. space (spatial) and communication aeronautics and space communication time and timekeeping time preservation labor communication revolution archives history, and new media communication revolution, and second industrial revolution history office office, and new media office transportation geography general studies postindustrial society infrastructure digital media railroads telephones electricity telecommunications radio television citizen band radio communication revolution space (spatial) time quantification transportation revolution aeronautics and space (spatial) communication critics digitization information storage second industrial revolution postmodernism history, break with satellites Bell, Daniel The Coming of Post-Industrial Society A Venture in Social Forecasting 3140 Bell, Daniel The Social Framework of the Information Society Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
500-49, 571-74 Bell questions the abilities of computers and raises several ethical issues regarding their use. Of particular interest is Bell’s section on “Intellectual foundations of the revolution in communications,” in which he discusses Harold Innis and Claude Shannon’s theories. See Joe Weizenbaum’s rejoinder and Bell’s response (pp. 571-74) in ibid. This essay originally appeared in Michael L. Dertouzos and Joel Moses, eds., The Computer Age: A Twenty-Year View (Cambridge, MA: The MIT Press, 1979). computers information theory nationalism values preservation communication revolution second industrial revolution communication revolution history, and new media community democracy communication revolution, and second industrial revolution history values microelectronics human nature history computers and the Internet artificial intelligence and biotechnology democracy and media values, and computers postindustrial society Weizenbaum, Joseph Innis, Harold Shannon, Claude microelectronics revolution second industrial revolution history, break with human nature, and computers communication revolution, and intellectual foundations information age nationalism and communication critics communication revolution Bell, Daniel The Social Framework of the Information Society 4190 Bell, Daniel The Year 2000 --- The Trajectory of an Idea Daedalus
Summer, 1967
96 3 639-51 Here Bell introduces an issue of Daedalus devoted to theme: "Toward the Year 2000: work in progress." The volume groups contributors around five "problems areas" -- "the adequacy of the governmental structure, the changing nature of values and rights, the structure of the intellectual institutions, the life-cycle of the individual, and the international system." See also Bell's "Coda: Work in Further Progress" (985ff) at the end of this issue which attempt to pull together themes in this issue. nationalism future and science fiction community democracy non-USA future global communication democracy and media values nationalism and communication Bell, Daniel The Year 2000 --- The Trajectory of an Idea 5290 Bellamy, Edward Looking Backward, 2000 - 1887 Boston Houghton Mifflin Company
1887
One interesting section of Bellamy’s book discusses a room in which a wide array of music is broadcast by means of telephone. The volume was adjusted by merely touching “one or two screws.” Of course, by this time (1887) concerts had been broadcast by telephone to people who could afford this service in Europe. Other interesting sections in Bellamy’s work include the use of a system that employed tubes to deliver messages between stores and warehouses. The author also talks about books, libraries, newspapers, and magazines of the future. entertainment entertainment, home labor archives future and science fiction news and journalism home, and new media home office office, and information technology home, and information technology libraries information technology libraries, and information storage telephones future science fiction information storage libraries networks information technology, and office information technology, and home books, periodicals, newspapers sound recording radio office, and new media home entertainment newspapers news Bellamy, Edward Looking Backward, 2000 - 1887 34360 Bellion, Wendy Heads of States: Profiles and Politics in Jeffersonian America Lisa Gitelman and Geoffey B. Pingree, eds. New Media, 1740-1915 Cambridge, MA MIT Press
2003
31-59 In the early ninteenth century, Americans "anxious about accurate representation seized upon a new mechnical invention -- the physiognotrace -- as the answer to their concerns. The physiognotrace was a drawing machine.... Literally used, as the name suggests, to trace an individual's physiognomy, the physiognotrace produced four identical, miniature silhouettes or profiles. The device and the images it yielded were praised in the descriptive terms of actual representation, a period rhetoric that optimistically imagined political representation to be direct, particular, and true." The invention "equipped any willing citizen to enact a fantasy of Jeffersonian political subjectivity." (31)
Blake's essay appears in a volume that is part of a larger series on new media technologies entitled Media In Transition. This volume offers a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. These ten essays examine media that were new in the eighteenth, nineteenth, and early twentieth centuries. The expore "momemts of transition when each new medium was not yet fully defined, its significance in flux...." They attempt to put these media into their "specific material and historical environment" and explain the "ways in which habits and structures of communication are naturalized or normalized." (viii) nationalism presidents and new media Jefferson, Thomas physiognotrace nationalism and communication Bellion, Wendy Heads of States: Profiles and Politics in Jeffersonian America 2590 Belton, John CinemaScope: The Economics of Technology Velvet Light Trap
Summer 1985
21 35-43 See filed under Velvet Light Trap. Belton, who has written a book on widescreen cinema, here examining the marketing of CinemaScope. advertising, and public relations widescreen propaganda public relations motion pictures motion pictures and popular culture motion pictures, and widescreen widescreen, and motion pictures advertising, and motion pictures CinemaScope advertising, and CinemaScope advertising Belton, John CinemaScope: The Economics of Technology 6110 Belton, John Widescreen Cinema Cambridge, MA Harvard University Press
1992
This book is based on research in the Sponable Collection at Columbia University, the Warner Bros. Archives at USC, the UCLA Film Archives, the Film Study Center at the Museum of Modern Art, and the Lincoln Center Library for the Performing Arts.
Belton writes that “Cinerama, CinemaScope, and other widescreen systems did not emerge magically from the head of Hollywood; their success in the mid-1950s did not occur in a historical vacuum but against a background of earlier failure. A close examination of the factors which led to the abortion of the wide-film revolution of 1926-1930, when Fox and other studios attempted to innovate various wide-film systems, revealed that these ‘negative’ determinants were reversed in the postwar era, prompting the adoption of technologies remarkably similar to those which had earlier been rejected. I also look forward from the 1950s to the transformations that have taken place in motion picture exhibition during the past thirty years. If the ‘rise’ of widescreen could be located in the period 1926-1930, then its ‘demise’ would seem to be integrally bound up with multiplexing, the marketing of widescreen films to television, the advent of the videocassette recorder, and, with it, the growth of a major subsidiary form of distribution for widescreen films through videotape sales and rentals.” video cassette recorders (VCRs) magnetic recording materials materials magnetic tape motion pictures motion pictures widescreen motion pictures, and widescreen television television, and motion pictures VCRs videotape Cinerama CinemaScope Belton, John Widescreen Cinema 33190 Bement, Arden L. Jr. Materials Sector Profile Anne G. Keatley, ed. Technological Frontiers and Foreign Relations Washington, D. C. National Academy Press
1985
110-64 Bement's essay notes that materials science in 1985 was in "transition" (111) and that this field and engineering were "burgeoning -- so much so, that it is difficult to distinguish between future developments and near-term applications." (113) Bement the importance of research and development in the area of materials and the importance that this field has to foreign relations. technology R & D computers computers technology and society materials, and silicon Reagan administration Reagan, Ronald nationalism nationalism and communication artificial intelligence and biotechnology capitalism research and development computers, and nationalism nationalism, and computers materials nationalism, and materials materials, and nationalism foreign relations, and technology technology, and foreign relations computers, and software computers, and hardware space shuttle silicon semiconductors presidents and new media Reagan, Ronald, and technology Reagan administration, and technology Reagan administration, and foreign relations foreign relations, and Reagan administration computers and the Internet Reagan administration space communication aeronautics and space communication Bement, Arden L. Jr. Materials Sector Profile 33190 Benford, Gregory// Elisabeth Malartre Beyond Human: Living with Robots and Cyborgs New York Forge Books
2007
Predicting the future has usually been the province of science fiction writers. Hence, it is no surprise that Beyond Human: Living with Robots and Cyborgs is written by the acclaimed sci-fi writer Gregory Benford and his wife, fellow sci-fi writer Elisabeth Malartre. Because Benford is steeped in fiction, most of the evidence in the book comes from sci-fi books and movies, with an emphasis on Asimov, whose three rules of robotics are discussed extensively, and Philip K. Dick. In addition to supporting his claims about the future of robotics with fiction, Benford also interviews several scientists and theologians working in the field of robotics, focusing on M.I.T.’s artificial intelligence lab, a pioneer in robotics technology. M.I.T.’s lab produced one of the most popular home robots, iRobot Roomba, a robotic vacuum cleaner that is designed like a turtle, a trend in small consumer robots.
Beyond Human is divided into three main sections: one on cyborgs, another on robots, and the last on bionics and future developments in the field. A woman wearing eyeglasses would be considered a cyborg, the authors say, because a cyborg is simply a “hybrid of man and machine." (p.102) Robots, on the other hand, are stand-alone beings that may even have a soul (according to some scientists). In the last section, the authors discuss the superorganism, using the Internet as an example of a mass of human desires aggregated in one place.
The main argument of Beyond Human is that in the future robots will become as ubiquitous as computers; therefore, we need to respect robots and not fear them. We will not be taken over by an all robot army. More likely, robots will give us emotional support in addition to being able to perform useful tasks. They will be the pets of the mid- to late-twentieth-first century.
--Hallie Lieberman future computers biotechnology Lieberman, Hallie science fiction and future Dick, Philip K. Asimov, Isaac science fiction, and Philip Dick science fiction, and Isaac Asimov robotics computers and the Internet cybernetics values values, and artificial intelligence biotechnology, and human nature values, and human nature values, and cyborgs cyborgs artificial intelligence, and human nature human nature, and biotechnology human nature, and artificial intelligence artificial intelligence and biotechnology genetics infomatics future and science fiction second industrial revolution military communication nationalism and communication DARPA DARPA, and human enhancement values freedom democracy values, and artificial intelligence freedom, and artificial intelligence democracy, and artificial intelligence artificial intelligence, and values biotechnology, and freedom biotechnology, and democracy military communication, and biotechnology nationalism and communication, and artificial biotechnology, and values biotechnology, and democracy biotechnology, and freedom nanotechnology values, and biotechnology freedom, and biotechnology democracy, and biotechnology biotechnology, and values artificial intelligence, and freedom artificial intelligence, and democracy military communication, and artificial intelligence nationalism, and biotechnology Defense Advanced Research Projects Agency (DARPA) human nature nationalism science fiction Benford, Gregory// Elisabeth Malartre Beyond Human: Living with Robots and Cyborgs 70 Beniger, James R. The Control Revolution: Technological and Economic Origins of the Information Society Cambridge, MA Harvard University Press
1986
This is a substantial, thought-provoking book. “To what comparable technological and economic ‘revolution’ might we attribute the emergence of the Information Society?” Beniger asks.
“My answer ... is what I call the Control Revolution, a complex of rapid changes in the technological and economic arrangements by which information is collected, stored, processed, and communicated, and through which formal or programmed decision might effect societal control. From its origins in the last decades of the nineteenth century, the Control Revolution has continued unabated, and recently it has been accelerated by the development of microprocessing technologies. In terms of the magnitude and pervasiveness of its impact upon society, intellectual and cultural no less than material, the Control Revolution already appears to be as important to the history of this century as the Industrial Revolution was to the last.”
“The Information Society, ... is not so much the result of any recent social change as of increases begun more than a century ago in the speed of material processing. Microprocessor and computer technologies, contrary to currently fashionable opinion, are not new forces only recently unleashed upon an unprepared society, but merely the latest installment in the continuing development of the Control Revolution. This explains why so many of the computer’s major contributions were anticipated along with the first signs of a control crisis in the mid-nineteenth century.”
Among the most interesting chapters in this book are chapter 6 (“Industrial Revolution and the Crisis of Control”) and Chapter 8 (“Revolution in Control of Mass Consumption”). The latter chapter deals with modern advertising, modern media, government control of broadcasting, and the technology of market feedback. The work has tables throughout dating important communication inventions and related developments.
 computers microprocessing advertising, and public relations steam power References, Statistics, Timelines, Maps social control propaganda public relations preservation labor communication revolution archives history, and new media computers and the Internet communication revolution, and second industrial revolution law capitalism history office office, and new media office second industrial revolution office, and information technology information technology information processing Information Age Industrial Revolution history general studies control revolution Industrial Revolution computers microprocessors advertising information age history, break with timelines transportation infrastructure advertising, and timeline transportation, and timeline second industrial revolution, and timeline industry, and timeline steam, and timeline information processing, and timeline automation, and timeline broadcast media, and timeline office technology, and timeline information technology, and office information processing automation office, and information technology information storage capitalism, and new media social control, and new media second industrial revolution history, break with computers, and microprocessors regulation communication revolution censorship and ratings industry Beniger, James R. The Control Revolution: Technological and Economic Origins of the Information Society 15290 Benjamin, Walter A Child’s View of Color Marcus Bullock and Michael W. Jennings Walter Benjamin: Selected Writings. Volume I: 1913-1926 Cambridge, MA Belknap Press of Harvard University Press
1996
50-51 Walter Benjamin discusses children and color during the period around 1914-15. children color Benjamin, Walter color, and modernity modernity modernity, and color children and media color, and children children, and color media effects children, and media effects media effects, and children Benjamin, Walter, and color children Benjamin, Walter A Child’s View of Color 80 Benjamin, Walter Illuminations: Essays and Reflections. Edited and with an Introduction by Hannah Arendt. New York Harcourt, Brace and World
[1968]
A few good insights can be found in the chapter on “The Work of Art in the Age of Mechanical Reproduction,” although often when Benjamin moves off into theory and speculation he becomes tedious and virtually incomprehensible.
“With the woodcut,” he writes, “graphic art became mechanically reproducible for the first time, long before script became reproducible by print.... During the Middle Ages engraving and etching were added to the woodcut; at the beginning of the nineteenth century lithography made its appearance.
“With lithography the technique of reproduction reached an essentially new stage. This much more direct process was distinguished by the tracing of the design on a stone rather than its incision on a block of wood or its etching on a copperplate and permitted graphic art for the first time to put its products on the market, not only in large numbers as hitherto, but also in daily changing forms. Lithography enabled graphic art to illustrate everyday life, and it began to keep pace with printing. But only a few decades after its invention, lithography was surpassed by photography.... Around 1900 technical reproduction had reached a standard that not only permitted the most profound change in their impact upon the public; it also had captured a place of its own among the artistic processes.
“Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be....”
wood engraving photography time and timekeeping time geography general studies photography and visual communication lithography mechanical reproduction woodcuts space (spatial) time Arendt, Hannah Benjamin, Walter Illuminations: Essays and Reflections. Edited and with an Introduction by Hannah Arendt. 840 Bennett, John W. Using Union Memorabilia as a Teaching Aid Labor Studies Journal
Fall 1978
3 2 114-30 See also: office Bennett suggests that labor educators could make use of buttons, pins, badges and other ephemera to teach about labor history and politics. Bennett uses materials he has obtained at flea markets and elsewhere to discuss key moments and issues in labor history. For example, he notes, the equilateral triangle on all Knights of Labor artifacts “can be used to remind students that the Knights of Labor admitted workers no matter what their industry, craft, or skill level. There were no separate symbols for carpenters, glass blowers, telegraphers, or shoemakers.” In the early stages of the Congress of Industrial Organizations, the letters CIO figure prominently, suggesting “workers knew they were joining the CIO as well as a union within their industry,” Bennett writes. Bennett also discusses what can be said from buttons, pins and badges about the evolution of individual unions, the railroad brotherhoods, unions and World War II, and labor and politics. The article includes eight pages of illustrations of buttons and pins.
--Phil Glende Glende, Phil labor labor, and memorabilia Bennett, John W. Using Union Memorabilia as a Teaching Aid 22440 Bennetts, Leslie Conservatives Join on Social Concerns New York Times
July 30, 1980
A 1A See also: media See also: violence See also: sexuality This article is about conservatives inveighing about the dangers of pornography and other immorality in mass media. These conservative formed a coalition supporting Ronald Reagan's candidacy in 1980. The issues they support were often defined as "traditional moral values" which emphasized the scantity of the family and which often opposed abortion, the equal rights amendment for women, drafting women into military service, homosexuality, and pornography. conservatives values sexuality motion pictures mass media First Amendment media effects crime freedom law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship First Amendment, and pornography pornography, and First Amendment values, and pornography critics values Bennetts, Leslie Conservatives Join on Social Concerns 35200 Berger, Benjamin N. Statement Hearings, Motion-Picture Distribution Trade Practices -- 1956: Problems of Independent Motion-Picture Exhibitors, U. S. Congress. Senate. Subcommittee of the Select Committee on Small Business, Eighty-Fourth Congress, Second Session March 21, 1956 90-100 (Washington, D. C.: U. S. Government Printing Office, 1956) In this Statement, Berger, who was Director of the Allied States Association of Motion Picture Exhibitors, commented on the importance of the movie theater in local communities. He said: "A motion-picture theater in every community is not a dispensable luxury but a necessity. Much of the community of life and activity center around it. Other merchants are dependant upon it for much of their trade. Theaters cause traffic and traffic makes trade. But more important than that, they constitute an educational and cultural center." 93) audiences nationalism motion pictures motion pictures, and foreign policy motion pictures, and independent producers motion pictures, and foreign film motion pictures, and American-interest films CinemaScope VistaVision motion pictures, and CinemaScope censorship and ratings military communication motion pictures, and military motion pictures, and military censorship motion pictures, and foreign markets nationalism and communication motion pictures, and nationalism theaters motion pictures, and theaters motion pictures, and capitalism capitalism, and motion pictures capitalism Berger, Benjamin N. Statement 110 Bergeron, Bryan Dark Ages II: When the Digital Data Die Upper Saddle River, N.J. Prentice Hall PTR
2002
The author warns that with the arrival of electronic, digital media, that much of what is being created and saved is in danger of being permanently lost. New technology becomes obsolete rapidly and often data stored on it becomes inaccessible. Moreover, many new media deteriorate very quickly (in historical terms), much fast that more stable media such as paper and microfilm. Many companies and insitutions have no plan for data loss.
--SV

Although computers often operate proficiently and effectively in storing and processing data, because of the possibility that something might go wrong, it is important to prepare for alternative measures of data collection. “Millions of computers operate flawlessly for years without anyone ever noticing anything out of the ordinary,” the author writes. “However, given the complexity and interconnectedness of modern society, when a computer system containing critical data fails, the repercussions ripple throughout the fabric of an organization. Knowing what can go wrong with computer systems, learning to recognize the relevant situations, and then preparing to deal with the most likely outcomes is a reasonable approach to managing the risk of digital data loss in a rapidly evolving technological environment.”
Companies may have employees who recognize the importance of date storage backup systems, however there is seldom a specific management plan in place for ensuring the existence of data. “Unfortunately, surprisingly few companies---and even fewer individuals---have a data loss management plan. That is, they may have an inkling of what should be done and perform backups relatively regularly because everyone knows that backups are important. However, unless there’s a written plan that can be read, examined, scrutinized, and followed, one or more of the above stages will be skipped or shortchanged. In particular, without a written plan in place, there is a much greater likelihood that there will be an actual data loss incident. As described here, there are ways to control and understand the economic ramifications of data loss and reduce the chances of it recurring in the future.”
The United States has misplaced priorities on deciding what information should be stored via a mandated government system. The health care industry seems to be one that has been left to fend for its data on their own. “The issue of who decides what data are valuable and should be saved and what data should be disposed of seems critical in larger social systems, such as health care. In the United States, short term economics often dictates many corporate practices, with little or no regard for time horizons past, say, five years. However, except for stockholders and those who like potato chips, it seems that the chip companies should decide the fate of their data. To allow other companies, such as large health care enterprises, to decide on their own how to handle patient data seems less appropriate. It may be more appropriate for federal legislation to decree the value of universal health care data.”
The best bet for securing digital data for years to come is to transfer it to the latest communication medium, Bergeron argues. Waiting to long can jeopardize any hope of transfer. “Because of competing architectures, rapidly evolving hardware, and the lack of enduring standards, it’s difficult to share data among contemporary systems, much less work with media from a decade ago. The rapid evolution of the microcomputer, from Altair to the modern PC, and of media, from paper and cassette tape to floppy disks to flash RAM, illustrates how media, operating systems, and data formats have yet to stabilize. If the world changes to a new microcomputer platform---a descendent of Linux, for example---then prudent computer users will migrate their data to the new system as soon as it’s stable.”
--Michael Shefky computers obsolete media nationalism microprocessing discs, compact archives history and new media preservation new media microfiche, microfilm, microform libraries information storage history digital media digitization computers compact discs (CDs) CDs history new media, and history information storage information storage, and history history, and new media history, and digital media digital media, and history history, break with computers, and information storage libraries, and digital media information storage, and digital media obsolete technology history, and obsolete technology computers and the Internet computers, and software new media, and archives archives archives, and new media archives, and digital media computers, and hardware microfilm microprocessors computers, and microprocessors compact discs (CDs) nationalism and communication nationalism, and information storage Shefky, Michael Bergeron, Bryan Dark Ages II: When the Digital Data Die 29540 Bergery, Benjamin Framing the Future American Cinematographer
Sept. 2001
82 9 76-83 Cinematographer David Tattersall and a group of imaging experts offer an assessment of the digital cameras and techniques George Lucas used on Star Wars: Episode II, a movie that was then in production. special effects, digital motion pictures and popular culture digitization digital cinema Lucas, George special effects, and digitization cameras, and digital cinema motion pictures, and digitization digitization, and motion pictures cameras digital media motion pictures special effects Bergery, Benjamin Framing the Future 15520 Bergman, Andrew We're in the Money: Depression America and Its Films. New York New York New York University Press; Harper & Row
1971; 1972
This work examines common themes (e.g., "rags-to-riches") in Depression- and New Deal-era motion pictures. motion pictures and popular culture motion pictures motion pictures, and government motion pictures, and FBI Bergman, Andrew We're in the Money: Depression America and Its Films. New York 41930 Bergson, Henri trans. by Arthur Mitchell Creative Evolution New York Henry Holt and Company
1911
In this work, Henri Bergson comments on the characteristics of the cinematograph, or motion pictures, and how, in some respects, human knowledge has characteristics of the cinematograph:
“Suppose we wish to portray on a screen a living picture, 304/305 such as the marching past of a regiment. There is one way in which it might first occur to us to do it. That would be to cut out jointed figures representing the soldiers, to give to each of them the movement of marching, a movement varying from individual to individual although common to the human species, and to throw the whole on the screen. We would need to spend on this little game an enormous amount of work, and even then we should obtain but a very poor result: how could it, at its best, reproduce the suppleness and variety of life? Now, there is another way of proceeding, more easy and at the same time more effective. It is to take a series of snapshots of the passing regiment and to throw these instantaneous views on the screen, so that they replace each other very rapidly. That is what the cinematograph does. With photographs, each of which represents the regiment in a fixed attitude, it reconstitutes the mobility of the regiment marching. It is true that if we had to do with photographs alone, however much we might look at them, we should never see them animated: with immobility set beside immobility, even endlessly, we could never make movement. In order that the pictures may be animated, there must be movement somewhere. The movement does indeed exist here; it is in the apparatus. It is because the film of the cinematograph unrolls, bringing in turn the different photographs of the scene to continue each other, that each actor of the scene recovers his mobility; he strings all his successive attitudes on the invisible movement of the film. The process then consists in extracting from all the movements peculiar to all the figures an impersonal movement abstract and simple, movement in general, so to speak: we put this into the apparatus, and we reconstitute the individuality of each particular movement by combining the nameless movement with the per- 305/306 sonal attitudes. Such is the contrivance of the cinematograph. And such also is that of our knowledge. Instead of attaching ourselves to the inner becoming of things, we place ourselves outside them in order to recompose their becoming artificiality. We take snapshots, as it were, of the passing reality, and, as these are characteristics of the reality, we have only to string them on a becoming abstract, uniform and invisible, situated at the back of the apparatus of knowledge, in order to imitate what there is that is characteristic of this becoming itself. Perception, intellection, language so proceed in general. Whether we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us. We may therefore sum up what we have been saying in the conclusion that the mechanism of our ordinary knowledge is of a cinematographical kind." (emphasis in original text) motion pictures photography motion pictures, and photography photography, and motion pictures new way of seeing motion pictures, and Henri Bergson Bergson, Henri, and motion pictures motion pictures, and modernity modernity, and motion pictures motion pictures, and movement Bergson, Henri modernity Bergson, Henri trans. by Arthur Mitchell Creative Evolution 12280 Berinstein, Paula Statistical Handbook on Technology Phoeniz, AZ Oryx Press
1999
This work provides statistical data, predominantly for the 1990s but some tables give information for much earlier. For example, tables show the sales of color television sets in the United States from 1954 to the late 1990s. The work covers a wide range of technologies. Among those relating to communication include: biotechnology, computers, construction and infrastructure, consumer products and entertainment, materials, military, space, and transportation. R & D computers video cassette recorders (VCRs) Federal Communications Commission (FCC) discs, compact telephones cell phones magnetic recording advertising, and public relations timelines References, Statistics, Timelines, Maps References, Statistics, Timelines, Maps censorship and ratings propaganda public relations fiber optics labor research and development war Internet home, and new media information technology archives materials materials magnetic tape materials fiber optics regulation computers compact discs (CDs) CDs war office office, and new media office reference works statistical data television military communication artificial intelligence and biotechnology biotechnology sound recording duplicating technologies telephones compact discs (CDs) sound recording, and CDS satellites aeronautics and space communication telephones, and answering devices radio laser discs VCRs advertising media convergence interactivity information storage information technology, and home information technology, and office information technology, and libraries libraries libraries, and new media information technology, and education computers and the Internet computers, and education Internet, and education energy electricity military communication information technology, and law enforcement transportation infrastructure cable optical fibers cable, transatlantic telephones telephones, transatlantic common carriers telephones, penetration (U.S.) radio radio, FM radio, AM telephones, cellular cellular telephones FCC timelines, and computers computers, timelines statistics cable interactive media home lasers Berinstein, Paula Statistical Handbook on Technology 5810 Berkman, Dave The Promise of Early Radio and Television for Education -- as Seen by the Nation’s Periodical Press Educational Technology
Dec. 1992
32 12 26-31 “The relationship between education and broadcasting in the United States -- unlike Great Britain, Japan and a number of Third World nations -- has been minimal; its significance almost nil. The many and complex reasons for this (which this writer has explored at some length elsewhere) come down to the vested interest which American education had long had in perpetuating a highly labor-intensive, low-productivity system of schooling. But whatever the reasons for the way things would eventually turn out, during radio’s earliest years, when broadcasting first exploded into America’s consciousness and living rooms during the early ‘20s, and then especially during the period of television’s ‘gestation’ -- the years between its emergence from the laboratory and its ‘take-off’ in 1948 -- the nation’s periodical press bespoke the positive promises which each of these broadcast media held for education. Here, as has so often been the case, press perceptions -- the education press, itself, not excluded -- of ‘things educational’ had little relation to reality.” religion community democracy values radio radio education, and radio democracy and media values, and radio periodicals, and radio radio, and periodicals education radio, and education television television, and education television, and periodicals periodicals, and television Berkman, Dave The Promise of Early Radio and Television for Education -- as Seen by the Nation’s Periodical Press 370 Berkowitz, Bruce The New Face of War: How War Will Be Fought in the 21st Century New York Free Press
2003
The central thesis of this book is that “the Information Revolution has fundamentally changed the nature of combat. To win war today, you must first win the information war.” Winning the information war against terrorists in the post-September, 2001 world will be critical and moreover, “U.S. leaders must also be able to decide when and how to strike them before they strike us. Doing this while observing the traditional rules of war will be a challenge,” the author admits. So, too, “will maintaining democratic control of U.S. armed forces.”
Satellites, optical fibers, and digital media make it possible to deliver information virtually anywhere instantaneously. Terrorist groups can now remain autonomous cells but still be interconnected by modern communication. These networks can be joined together with secure command and control systems that an exploit both military and commercial communications. These networks can also control extraordinarily power nuclear, biological, or chemical weapons.
Recent thinking about information warfare owed much to Andrew Marshall, who started with the RAND Corporation, and Thomas Rona, a scientist at Boeing Corporation. They met during the late 1970s and Rona became deputy director of the White House Office of Science and Technology Policy after Ronald Reagan’s election in 1980. During the George H. W. Bush administration, then Secretary of Defense Dick Cheney ordered that the Department of Defense focus strongly on attacking and defending information systems.
Berkowitz discusses the ability to strike single targets with precision from great distances and also how new communication technologies allow American forces to disrupt opponents infrastructure and “swarm” the enemy unexpectedly. Chapter 12, entitled “Killing,” notes that modern precision weaponry makes the assassination of foreign leaders much easier and raises crucial issues in international law. Assassinating Osama bin Laden or Saddam Hussein “covertly would undercut our standing as a country trying to uphold the rule of law,” he acknowledges.
At the time of this book’s publication, Berkowitz was senior analyst at the RAND Corporation and a research fellow at the Hoover Institution at Stanford University. Earlier he had worked for the CIA and been on the staff of the U.S. Select Committee on Intelligence. R & D information processing cybernetics computers USSR corporations nationalism corporations corporations Defense Advanced Research Projects Agency (DARPA) Central Intelligence Agency Bush, George W. Bush, George H. W. Boeing Corporation Asia Advanced Research Projects Agency Vietnam War Vietnam War presidents, and new media Bush, George W. administration Bush, George H. W. administration Reagan administration RAND Corporation public relations advertising preservation new media nationalism and communication national security war research and development military communication research and development war communication revolution communication revolution history, and new media global communication future and science fiction electronic media digitization cyberspace computers Cold War cinematography CIA war non-USA history future future, and war September 11, 2001 military communication computers and the Internet propaganda information warfare Reagan administration, and information warfare Reagan administration, and new media new media, and Cold War Cold War, and new media Soviet Union new media, and Soviet Union information warfare, and Soviet Union terrorism terrorism, and new media new media, and terrorism Bush, George H.W., and new media Bush, George W., and new media Iraq, and information warfare information warfare, and Iraq military, and new media Afghanistan ARPA DARPA CIA, and terrorism CIA, and new media China China, and cyberwarfare cyberwarfare computers, and warfare computers, and security Gulf War, 1991 electronic warfare digital media digital media, and warfare bin Laden, Osama Hussein, Saddam National Security Agency Al-Qaeda Rona, Thomas, and information warfare satellites aeronautics and space communication satellites, and warfare Global Position Systems Vietnam War electronic warfare, and World War I World War I, and electronic warfare electronic warfare, and World War II World War II, and electronic warfare electronic warfare, and Vietnam War Vietnam War, and electronic warfare World War I World War II RAND Corporation Information Revolution history, break with military-industrial complex Boeing and military-industrial complex Marshall, Andrew, and information warfare motion pictures public relations advertising and public relations Information Age Berkowitz, Bruce The New Face of War: How War Will Be Fought in the 21st Century 17470 Berkowitz, Leonard Aggression: A Social Psychological Analysis New York McGraw-Hill Book Company
1962
See also: violence See also: sexuality Berkowitz, a psychologist who was Vilas Reseach Professor at the University of Wisconsin-Madison, puts forth a study on aggression that is a synthesis of both previous work from various scholars in the field and his own definitive work on the issue of aggression and violence. As a study in the field of psychology, the book is laid out by theme, with chapters devoted to the forms of aggression, the causes, and role of the media, and the psychology of murder and domestic abuse. Berkowitz makes a positive correlation between media and violence.
Berkowitz stresses that these particular studies only show a short-term connection between aggression and media. Violence seems to occur only immediately after exposure to publicized violence. Berkowitz calls this a priming effect, in which the publicized violence stimulates other ideas that are likewise aggressive. “Before going further, I should remind you that I am now dealing only with the relatively immediate and transient effects of seeing violence on TV and movies screens or reading about it on the printed pagenot with the long-term consequences of repeated exposure. Nevertheless, I believe it will be helpful to explain these aftereffects in terms of the ‘priming’ concept . . . the central notion of priming is that when people encounter a stimulus (or an event) that has a particular meaning, other ideas occur to them that have much the same meaning. These thoughts in turn can activate yet other semantically related ideas and even tendencies to act . . . just this type of phenomenon contributes to the aggressive behaviors that results from exposure to a violent movie or TV program or the news report of a violent incident. People in the audience get aggressive ideas.”
Aggressive acts depicted in movies likewise will be less likely to incite aggressive actions if the acts are depicted as having negative consequences, or are not shown in a positive light. “This outcome is definitely pertinent to movie violence. A highly aggressive film won’t promote aggression-enhancing thoughts and motor reactions when the viewers regard the fighting, shooting, and killing in the movie as morally wrong. But most violent movies don’t really question the aggression they portray.”
Most movies do not show the negative consequences of violence, however. In fact, Berkowitz notes that often, movies show the hero of a movie triumphantly using aggression to subdue villains. “However, the typical violent movie does more than portray obviously improper aggression. It usually goes on to show the hero triumphantly beating up the bad guys at the end of the story. This is certainly the case in Bad Day. After being picked on throughout most of the film, Spencer Tracy finally decides he has taken enough and turns on his oppressors . . . Audiences love this ending. They enjoy seeing the wrongdoers receive the treatment they deserveand the thoughts activated by this gratifying violence may actually increase the chances that at least some person in the audience will assault another individual soon afterward.”
Berkowitz concludes by emphatically stating that the majority of researchers have shown that violence can incite aggressiveness, and not only among the young or the mentally deranged, but also to an extent among the populace at large. “The public at large and even some media specialists believe that depictions of violence on movie and TV screens and in the print media have at most a very minor effect on audience members. Further, they think that only children or mentally deranged viewers are susceptible to even this minor effect. However, the majority of researchers who have investigated media effects and/or who have carefully studies the pertinent research literature believe otherwise. In this chapter, I show that1. Portrayals and even news reports of violence increase the chances that people in the media audience, adults as well as children, will behave aggressively themselves. 2. This influence is not trivial, especially when one consider that millions of peersons are ordinarily exposed to the media. 3. Psychological concepts that are becoming well accepted can help to identify the factors that heighten or weaken the likelihood of aggressive reactions.”
--Nicholas Wolf social science research media effects violence media violence Wolf, Nicholas motion pictures and popular culture motion pictures television television, and violence motion pictures, and violence violence, and television violence, and popular culture violence, and motion pictures media effects, and violence motion pictures, and social science media effects, and violence social science research, and violence Berkowitz, Leonard Aggression: A Social Psychological Analysis 12600 Berkowitz, Leonard Some Effects of Thoughts on Anti- and Pro-social Influences of Media Events: A Cognitive-Neoassociation Analysis Psychological Bulletin
1984
95 3 410-27 See also: violence See also: sexuality Berkowitz, a professor of psychology, is interested in the linkage between news reports of sensational violent crime and subsequent events of a similar nature. The implications of research on this topic, according to him, seem to indicate that “real and factional depictions by the media of violence – killings, shootings, or suicides – can prompt audience members to act aggressively toward others or themselves. The present essay also argues that some of the now familiar effects of violent scenes on television and movie screens are similar to those producing the suggesto-imitative assaults discussed by [Gabriel] Tarde and documented in the research into the contagion on violence just mentioned. In addition to these negative consequences, the mass media can also promote pro-social behavior.... A comprehensive account of media effects should deal with both positive and negative influences.”
Berkowitz notes that critics of film and television violence believe that children learn to use aggression, or at least favor it, in solving interpersonal problems, and that also that violence in mass media makes some people indifferent to the suffering that results from real violence. Berkowitz also suggests another damaging result of media violence: “people can get ideas from the communications reporting violent incidents and, for a short time afterward at least, these thought can help foster antisocial behavior.”
Reprinted in Stephen Prince, ed., Screening Violence (New Brunswick, N. J.: Rutgers University Press, 2000), 205-36. media effects media violence violence motion pictures and popular culture motion pictures motion pictures, and violence violence, and motion pictures media effects media effects, and violence television television, and violence violence, and television Berkowitz, Leonard Some Effects of Thoughts on Anti- and Pro-social Influences of Media Events: A Cognitive-Neoassociation Analysis 7730 Berleur, Jacques Andrew Clement Richard Sizer and Diane Whitehouse eds. The Information Society: Evolving Landscapes New York Springer-Verlag
1990
This is a collection of original papers delivered at a conference (by the same title as the book) held at the University of Namur in June, 1988. The contributors are international experts in different areas of information technology (IT) and its influence on society. The authors maintain "that the relationship between IT and society has to be considered in an holistic context." The book’s six sections are divided into themes: “Ethics,” “Roots, Legitimacy and Ideology,” “Towards New Cultural Perspectives?”, “Politics,” “Economics,” and “Artificial Intelligence, Human Mind and Image of Reality.” Like so many conference publications, the entries in this volume are of uneven quality. A work from which to cull isolated insights. computers values computers and the Internet artificial intelligence and biotechnology values, and information technology Berleur, Jacques Andrew Clement Richard Sizer and Diane Whitehouse eds. The Information Society: Evolving Landscapes 4000 Berliner, Emile The Development of the Talking Machine Edward B. Moogk Roll Back the Years: History of Canadian Recorded Sound and Its Legacy: Genesis to 1930 May 21 (1913) Ottawa National Library of Canada
(1913), 1975
375-79 Berliner talks about the origins of the phonograph in a paper read before the Franklin Institute of Philadelphia, May 21, 1913. sound recording sound recording, and phonograph Berliner, Emile Edison, Thomas phonograph gramophone Berliner, Emile The Development of the Talking Machine 4010 [Berliner, Emile An Interview with the Inventor of the Gramophone Edward B. Moogk Roll Back the Years: History of Canadian Recorded Sound and Its Legacy: Genesis to 1930 Canadian Music Trades Journal, Sept. 1918 Ottawa National Library of Canada
(1918), 1975
380-82 An interview with Emile Berliner, which originally appeared in the Canadian Music Trades Journal (Sept. 1918). In it, Berliner talks about the gramophone and the article also quotes from Berliner in 1888 in which he made predictions for how the gramophone might be used. future and science fiction sound recording sound recording, and gramophone Berliner, Emile future phonograph gramophone future, and gramophone [Berliner, Emile An Interview with the Inventor of the Gramophone 9370 Berman, Jerry and Daniel J. Witzner Technology and Democracy Social Research
Fall 1997
64 3 This article by Jerry Berman and Daniel Witzner is an example of the optimism and enthusiasm that many people feel about the Internet and its potential to reinvigorate democracy around the world. The authors argue that the Internet provides a unique platform for increased deliberation and participation. Because of the informal and decentralized nature of the network, information can flow freely in ways that are different than traditional media outlets. The diversity and scope of opinions and resources are set in sharp contrast to the limited and centralized information sources of the past.
Berman and Witzner argue that the adaptability and flexibility of the Internet are its greatest assets. As society changes, the Internet can change along with it, enhancing and driving much of the debate. Another asset, according to the article, is the bi-directional, interactive nature of the Internet. Each user is both a producer and consumer of information. Users from around the world create a “true diversity of opinion and ideas in online forums.”
The article ends with a discussion of issues related to full access. There is currently a large gap between individuals who have access and those who don’t. Factors include the cost of computer hardware, the cost of online service, and the cost of the underlying infrastructure that does not exist in all parts of the world. The authors urge governments to ensure that full access is possible for everyone.
--Rob Rabe computers interactivity digital media digitization community democracy computers values computers and the Internet Rabe, Rob democracy and media democracy, and Internet values, and Internet interactive media digital divide computers, and democracy Berman, Jerry and Daniel J. Witzner Technology and Democracy 9380 Bernays, Edward L. The Engineering of Consent Annals of the American Academy of Political and Social Sciences,
March 1947
250 ; media effects See also: media convergence See also: mass media See also: violence See also: sexuality This short article by Edward Bernays, often called the father of public relations, is interesting as an introduction to the concept of engineered consent. Bernays described the scientific methods and practical procedures used by public relations professionals to assess the audience, shape the message and deliver various forms of content to the public sphere. The entire article is phrased in terms of using these methods for social good; in fact, Bernays argued that leadership and organization are only possible in a mass media society if these principles are used. He wrote, “The engineering of consent is the very essence of the democratic process.”
The article is useful because it shows the level of planning and research that go into a public relations campaign. People in this field have done a great deal of research in group psychology and media effects, and can produce very sophisticated and powerful messages. Bernays recognized that these same methods could be used for negative, or anti-democratic, purposes. However, the article plays down the threatening aspects of public relations methods, and instead points out the usefulness and benefits of their socially responsible use.
The field of public relations and engineering consent has taken on a different image in the years since this article was written. Critics see these methods being used to manipulate and misinform. However, it is important to understand that their persuasive methods were developed with largely good intentions. Bernays may have underestimated the intelligence of the public and its ability to make good political or social judgments, but the driving force behind his efforts was to give them the information they need to take part in the democratic process.
--Rob Rabe advertising, and public relations propaganda advertising community democracy values media democracy and media public relations media effects propaganda values, and media public opinion motion pictures, and public relations public relations propaganda, and public relations public relations, and propaganda motion pictures, and public relations motion pictures motion pictures and popular culture Bernays, Edward L. The Engineering of Consent 890 Bernays, Edward L. Labor Education as a Problem in Public Relations Labor and Nation
March-April 1947
3 2 19-21 Bernays argues for using modern public relations concepts to communicate with union members and the public at large. Bernays stressed three key areas for labor education initiatives in the immediate post-war era: Educate workers on union objectives, strengthen the involvement of unions in civic and governmental affairs, and sell the union to rank-and-file members. In addition, Bernays argued for three additional strategies: Make the public understand the value of unions to the country, make the employer understand the value of unions to business, and make the worker understand the industrial system. “A public that understands what unions have done for the good of the country is going to be more open-minded and friendly to union programs. If the public does not understand the value of unions, it will be guided by prejudice, untruth and distortions.”
--Phil Glende advertising, and public relations propaganda advertising Glende, Phil labor public relations labor, and public relations public relations, and labor Bernays, Edward L., and labor labor, and Edward Bernays labor Bernays, Edward Bernays, Edward L. Labor Education as a Problem in Public Relations 13280 Bernays, Edward L. Molding Public Opinion Annals of the American Academy of Political and Social Science
May, 1935
179 82-87 ; media effects See also: media convergence See also: mass media See also: violence See also: sexuality Bernays, an early pioneer of public relations and a nephew by marriage to Sigmund Freud, discusses his ideas about using modern media to influence public opinion. advertising, and public relations propaganda advertising public relations advertising values community democracy public relations propaganda, and public relations public relations, and propaganda motion pictures, and public relations motion pictures motion pictures and popular culture values media democracy and media public relations media effects propaganda values, and media public opinion motion pictures, and public relations Bernays, Edward L. Molding Public Opinion 1380 Bernhard, Nancy E. U. S. Television News and Cold War Propaganda, 1947-1960 New York Cambridge University Press
1999
Bernhard begins with the premise that television news and the Cold War matured simultaneously. Following this, she argues that when the government needed to build public support for long-term armament programs, it looked to television networks to shape public opinion. Bernhard writesThis book tells the story of a partnership between government information officers and network news producers to report and sell the Cold War to the American public. It chronicles dozens of news and public affairs series produced in collaboration between the inexperienced federal information bureaus and the fledging network news divisions. Much of the news about the early Cold War on television was scripted, if not produced, by the defense establishment. These programs defined American freedom as the absence of government control (2).
In the course of her study, Bernhard draws on numerous primary and secondary sources. Sifting through the papers of both the television networks and the United States government, Bernhard explores, among other thingsearly Cold War propaganda on television; the rise of the Broadcasters Advisory Council; the television programs Battle Report -- Washington and Meet the Press which aired on NBC; and various television programs created by the Department of Defense. In her analysis of Meet the Press, Bernhard shows that while it seemed to fulfill televisions democratic promise of bringing government into the home in an objective and unbiased forum, it was in fact tightly regulated by the network so that it always enacted a supportive function for the government (162-3).
After tracing the intersections and collaborations between the government and television networks manifest in these various programs and institutions, Bernhard meditates on the blurred line between culture and conspiracy. Although she cautions her reader against concluding that there was a vast conspiracy afoot in the early Cold War period, Bernhard acknowledges that certain covert collaboration between government agents and networks supposedly devoted to freedom from governmental regulation is undeniable. This study finally reminds the reader that history is itself necessarily constructed, and, when viewed through the lens of commercial television, the early Cold War can be seen as a period in which truth itself was a contested area (179). In her conclusion, Bernhard leaves the reader with several seminal questions that her study provokes, questions that remain as much unanswered in the early Cold War period as they do in our own time. Does this intimate relationship signal the disappearance of the ostensible line separating news and government, or does it represent reasonable service to country on the part of the broadcasters? Is it conspiracy, or is it culture? When the culture of reporting is so proudly and unapologetically intimate with the government, that line is rather hard to draw. The lingering question is how such an access-proud news establishment maintains a public image of oppositionalism (187).
U.S. Television News and Cold War Propaganda, 1947-1960 is valuable for the student interested in how seemingly-objective news programs of the early Cold War period were actually constructed with political goals in mind. Bernhard’s work is a useful compliment to studies such as Michael Curtains Redeeming the Wasteland: Television Documentary and Cold War Politics (1995) because it explains how the very growth and expansion of the television news industry was connected to and influenced by the United States government.
--Steve Belletto R & D nationalism public relations advertising propaganda research and development war journalism Cold War news and journalism war Belletto, Steve television television, and news news, and television propaganda, and television television, and propaganda news, and propaganda propaganda, and television news nationalism and communication nationalism, and news nationalism, and television television, and nationalism military communication military, and television Cold War, and television television, and Cold War propaganda, and Cold War Cold War, and propaganda news public relations advertising and public relations Bernhard, Nancy E. U. S. Television News and Cold War Propaganda, 1947-1960 22370 Berns, Walter On Pornography: -- Pornography vs. Democracy: The Case for Censorship Public Interest
Winter, 1971
22 3-24 See also: media See also: violence See also: sexuality This article was among those written by social, legal, and political conservatives in the aftermath of the 1970 Report by the President Commission on Obscenity and Pornography. They warned that pornography dehumanized society, eroded self-restraint, undermined democratic government, and, when disseminated through mass media, could even destroy civilization. The 1970 Report of the President Commission on Obscenity and Pornography argued that pornography and erotica were essential harmless and that restrictions imposed on them by society should be loosened. conservatives sexuality motion pictures mass media First Amendment media effects crime freedom law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship First Amendment, and pornography pornography, and First Amendment critics Berns, Walter On Pornography: -- Pornography vs. Democracy: The Case for Censorship 35750 Bernstein, Irving Hollywood at the Crossroads: An Economic Study of the Motion Picture Industry Hollywood, CA Hollywood A.F.L. Film Council
Dec. 1957
This work argues that between 1949 and 1957, there was a steady increasing in the number of so-called "runaway" or American-interest films produced in Europe and other parts of the world. These films, made by American film companies with a few American stars and directors, used mostly foreign labor. It was cheaper to film abroad and often quotas imposed by other countries required American films to meet legal standards imposed by the host country. Most of these runaway productions were made in Great Britain, followed by Italy, Mexico, France, and Germany. This work notes the problems this trend posed for Hollywood labor. The work also notes that these hybrid films often were similar to foreign film in their production values and in their content. In trying to satisfy an international audience, movies had to be made with international appeal rather than narrowly made to appeal only to U. S. audiences. The work discusses the reasons for the decline in movies attendance in the U. S. and notes that the Baby Boom generation which will come of age in the 1960s and 1970s will likely provide new opportunities for movie makers. , motion pictures motion pictures, and American-interest films motion pictures, and labor labor motion pictures, and foreign markets motion pictures, and censorship censorship and ratings television motion pictures, and television television, and motion pictures children children and media audiences motion pictures, and audiences Bernstein, Irving Hollywood at the Crossroads: An Economic Study of the Motion Picture Industry 90 Bernstein, Jeremy Three Degrees Above Zero: Bell Labs in the Information Age New York: Charles Scribner’s Sons
1984
The author accepted an invitation to write about Bell Labs in September 1982 (the divestiture of Bells Labs occurred in 1982). This work is not footnoted and has only a brief bibliography but chapters 5-9 deal with solid state and transistors. Chapters 10-13 deal with telephony. The title refers to the average temperature of the universe (3 degrees above absolute zero), a discovery that began with observations of two Bell lab radio astronomers in 1964.
 corporations corporations radio general studies Bell Laboratories transistors solid state telephones radio astronomy materials Bernstein, Jeremy Three Degrees Above Zero: Bell Labs in the Information Age 1790 Bernstein, Matthew Controlling Hollywood: Censorship and Regulation in the Studio Era New Brunswick, NJ Rutgers University Press
1999
This work is a collection of articles on motion picture censorship, most of which have been previously published in such journals as the Historical Journal of Film, Radio and Television, Journal of American History, Velvet Light Trap, Screen, Cinema Journal, and Quarterly Review of Film and Video. The authors include: Garth Jowett, Shelley Stamp, Richard Maltby, Lea Jacobs, Ruth Vasey, Clayton R. Koppes and Gregory D. Black, Matthew Bernstein, Ellen Draper, Jeff Smith, and Justin Wyatt. The work also includes a twelve-page annotated bibliography. classification self-regulation motion pictures, and sexuality sexuality Burstyn v. Wilson Burstyn, Joseph CARA blacklisting sexuality women, and new media women sex censorship and ratings Mutual case (1915) motion pictures media effects media violence violence law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship war motion pictures and popular culture motion pictures, and censorship censorship, and motion pictures law, and motion pictures censorship, and Mutual case (1915) Mutual case (1915), and movie censorship blacklisting, and motion pictures motion pictures, and blacklisting World War II, and motion pictures African Americans, and motion pictures motion pictures, and African Americans sex, and motion pictures motion pictures, and sex violence, and censorship violence, and motion pictures motion pictures, and violence women, and motion pictures motion pictures, and women rating system (U. S.), and motion pictures motion pictures, and X rating Trumbo, Dalton Miracle case, and movie censorship censorship, and Miracle case bibliographies, and movie censorship bibliographies Miracle case World War II African Americans Bernstein, Matthew Controlling Hollywood: Censorship and Regulation in the Studio Era 37660 Berry, Graham The Budget of the Movies The Bookman
Aug. 1914
39 6 908-20 Graham Berry examines the transformation in the motion picture business over the previous 15 years. By 1914, a substantial supporting media had grown up around the movies. "When twenty-four sheet posters announce picture plays on every cor- 608/609 ner, when electric letters over the entrances of usurped theatres flash the names of film companies and stars, when a well-known periodical advertises in the street cars as a contest for moving-picture patrons 'Which is your favorite leading man?' when in a syndicate of large American dailies is published from week to week a story-version by one of our most popular novelists simultaneously with the picture-version in the theatres, when the news-stands display several periodicals devoted to news of the motion -picture world -- even the man in the street (who, in spite of his location, is never supposed to see anything!) can no longer remain oblivious to the fact that he is perambulating in the midst of an enormous industry. Then he begins to wonder how it happened and what all this represents." (608-09) (emphasis added)
Berry says that there are about 20,000 movie theaters in the U. S. and Canada. (609) He discusses movies as a trade organization and the "plant" where films are produced. In the making of moving pictures, great waste and realism go hand-in-hand. (615) Editing is required to make the film watchable and sometimes more than half of the origin movies is cut out. (616) The Vitagraph Company was then releasing about six movies a week and putting four other into storage. (618) At this time, "Eighty per cent of the theaters change their programmes daily." (619)
The author concludes by commenting on the rise of movie stars such as John Bunny. As late as 1910, no top-rank actors would take part in movies. Now, because of the money and increased fame, there is no shortage of good actors in films. By 1914, the much larger salaries were important but the "infinitely wider audience acts as a significant lure in itself. As short a while ago as 1910 not a single prominent actor was willing to enter a film studio, now there are some stars who never leave it. That the extent of the audience has something to do with this is proved by the fact that certain stars in all the companies are now constantly featured. The personal following of a man like John Bunny has probably never been equaled in the history of the world. He is probably known by more kinds of people than any one who ever lived before. In a little Russian village there is a notice at the door of the moving-picture theatre, 'No programme is complete without our dear Pockson.' Pockson is Bunny, 'the man who makes them laugh.' A man stopped him on Broadway the other evening. 'You are John Bunny,' he said. 'I got acquainted with you in Mombasa. There isn't a nigger in the place who doesn't scream when he sees you!'" (620) (emphasis added) stage journalism journalism fame celebrity actors acting magazines, and photography magazines Bunny, John news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography and visual communication capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality motion pictures, and stars (origins) stage and theater motion pictures, and stage stage, and motion pictures electricity electricity, and movie advertising advertising and public relations advertising, and motion pictures motion pictures, and advertising Vitagraph motion pictures, and Vitagraph race, and motion pictures motion pictures, and racism motion pictures, and race advertising motion pictures photography race Berry, Graham The Budget of the Movies 13170 Bertrand, Ina Film Censorship in Australia St. Lucia, Australia University of Queensland Press
c1978
Bertrand, an fine historian of cinema, writes about efforts to censor Australian motion pictures. This solid work provides a comparative context for scholar working on American and British film censorship. non-USA motion pictures and popular culture motion pictures motion pictures, and foreign censorship motion pictures, and Australia Australia Australia, and motion picture censorship Bertrand, Ina Film Censorship in Australia 80 Bess, Michael D. Icarus 2.0: A Historian's Perspective on Human Biological Enhancement Technology and Culture
Jan. 2008
49 1 114-26 In this article, author Michael D. Bess discusses the "technologies of human enhancement" (114) in three important areas: pharmaceuticals, prosthetics and informatics, and genetics. Bess argues that "today we are in the early stages of an epochal shift that will prove as momentous" as early "important watersheds in human history" such as the use of metal tools, the rise of agriculture, and the use of steam power. (114) "This time around," he writes, the new techniques and technologies are not being applied to reinventing our tools, our methods of food production, our means of manufacturing. Rather, it is we ourselves who are being refashioned." (114) These changes are "raising profound questions about what it means to be human." (114) Where earlier transformations took place over long period of time, what is occurring now taking place much faster. "This time around ... the radical innovations are coming upon us suddenly, in a matter of decades. Contemporary society is unprepared for the dramatic and destabilizing changes it is about to experience, down this road on which it is already advancing at an accelerating pace." (115) What is at hand is "one of the great disjunctions in human history." (125)
With regard to the use of pharmaceuticals, the use of steroids in athletics obviously comes to mind. But people are using them "in increasingly sophisticated and powerful ways to reshape their bodies and minds.... In the process, our society's sense of what constitute normal ability and basic mental well-being is being destabilized." (118) Bess notes that the Defense Advance Research Projects Agency (DARPA) and the military are much involved in using prosthetic technologies for human enhancement in ways that will affect the future battlefield. Research in genetics is proceeding rapidly and "genetic enhancement of basic human traits is no longer a topic of fantasy," Bess maintains. (121)
Bess sees four challenges confronting us. First, biotechnological modifications, which come to us in small ways, will increasingly add up with the result being a world "in which the very meaning of the word 'normal' is constantly shifting." (123) Second, in the near future, citizens will be able to choose for themselves extraordinary capabilities and traits. "Over the coming century, some of us -- perhaps many of us -- will be increasingly merging with our machines, while at the same time modifying our own biology in every deeper ways." (123) By 2050, our world will likely "include a wide variety of truly hybrid beings, part genetically modified human, part machines." (123) No one can accurately predict what such people in the future will look like. A third challenge is the potential for social disruptions caused by these enhancement technologies. "It is not at all clear whether a population of highly enhanced humans can coexist peacefully alongside a population of unmodified humans." (124) Finally, these new enhancement technologies threaten "the moral ideals of equality and human dignity," Bess writes. (124) "A central moral challenge of the coming decades will be to prevent the technologies of enhancement from eroding the foundations of equality and human dignity on which our political and social systems rest." (125) The challenge will be to see that not just the privileged few have access to these technologies. (126) Bess concludes by saying that "it is not just our weaponry that threatens us, but our technologies of healing as well." (126) future biotechnology artificial intelligence and biotechnology genetics infomatics future and science fiction second industrial revolution military communication nationalism and communication DARPA DARPA, and human enhancement values freedom democracy values, and artificial intelligence freedom, and artificial intelligence democracy, and artificial intelligence artificial intelligence, and values biotechnology, and freedom biotechnology, and democracy military communication, and biotechnology nationalism and communication, and artificial biotechnology, and values biotechnology, and democracy biotechnology, and freedom nanotechnology values, and biotechnology freedom, and biotechnology democracy, and biotechnology biotechnology, and values artificial intelligence, and freedom artificial intelligence, and democracy military communication, and artificial intelligence nationalism, and biotechnology Defense Advanced Research Projects Agency (DARPA) nationalism Bess, Michael D. Icarus 2.0: A Historian's Perspective on Human Biological Enhancement 2900 Bessant, John Ernest Braun and Russell Moseley Microelectronics in Manufacturing Industry: The Rate of Diffusion Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
198-218 See also: office This paper gives an overview of the diffusion of microelectronics in industry. While microelectronics bring advantages in terms of flexibility, cost, size, and reliability, there are also complex social factors to be weighed. These include relationships between labor and management, and the fear of unemployment. computers communication revolution second industrial revolution communication revolution future and science fiction non-USA microelectronics information technology computers and the Internet automation microelectronics revolution labor microelectronics, and industry control revolution information technology, and industry information technology, and labor capitalism future Great Britain artificial intelligence and biotechnology labor, and new media Bessant, John Ernest Braun and Russell Moseley Microelectronics in Manufacturing Industry: The Rate of Diffusion 40950 Betancourt, Gilbert Present Color Trend Is Toward Subdued Hues American Cinematographer
Aug., 1937
317, 352 Kalmus, Herbert censorship censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and novelty lighting lighting, and color color, and lighting Betancourt, Gilbert Present Color Trend Is Toward Subdued Hues 10850 Bettinger, Hoyland Television Techniques New York Harper
1947
television, and history of television television, and origins television, and technology Bettinger, Hoyland Television Techniques 33520 Beyer, Kurt William Grace Hopper and the Early History of Computer Programming, 1944-1960 University of California, Berkeley
2002
Abstract from UMI ProQuest Digital Dissertations: "Grace Murray Hopper (1906 - 1991) was a mathematician, teacher, naval officer, programmer, inventor, leader, and computer visionary. She lived a life worthy of reflection, and her story serves as a vehicle to address a variety of themes in the history of programming and computing. The following is an archive-based account that documents Hopper's career in computer programming from 1944 to 1960. Hopper was a pivotal figure in the early years of computing; therefore, an understanding of her achievements shed light on the evolution of programming techniques, computer language innovation, and the interrelationship between computer hardware and software. Second, the account tracks the development of the community of people who came to refer to themselves as programmers and identifies Hopper's role within that community. Finally, Hopper's case helps to analyze how notions of gender shaped women's opportunities within the nascent computer field. The study explains why certain women such as Hopper were able to rise to preeminent positions within computing in the face of growing post-war antipathy in America towards women in the workplace. Hopper's story should garner interest from a wide audience, including historians of science and technology, military historians, computer scientists, and women studies scholars." computers computers and the Internet women computers, and women women, and computers computers Beyer, Kurt William Grace Hopper and the Early History of Computer Programming, 1944-1960 30010 Beyer, Walter Traveling Matte Photography and the Blue-Screen System: Part II -- Specifications for Equipment and Photography American Cinematographer
Jan., 1964
45 1 34-40, 42, 44-45 In this article, the author who was Head of Engineering Research at Universal Pictures Corporation, talks about special effects and the traveling matte, blue-screen technique. corporations corporations cinematography motion pictures special effects motion pictures, and special effects MGM special effects, and MGM special effects, traveling matte photography Beyer, Walter Traveling Matte Photography and the Blue-Screen System: Part II -- Specifications for Equipment and Photography 30020 Beyer, Walter Traveling Matte Photography and the Blue Screen System: Part III -- Special Photographic Phase American Cinematographer
April, 1964
45 4 208-210, 226-27 In this article, the author who was Head of Engineering Research at Universal Pictures Corporation, talks about special effects and the traveling matte, blue-screen technique. See also ibid., Sept., 1964, pp. 502ff; and ibid., Oct., 1964, pp. 565ff. corporations corporations cinematography motion pictures special effects motion pictures, and special effects MGM special effects, and MGM special effects, traveling matte photography Beyer, Walter Traveling Matte Photography and the Blue Screen System: Part III -- Special Photographic Phase 22380 Bickel, Alexander Stanley Kauffmann Wilson Carey McWilliams Marshal Cohen On Pornography: II -- Dissenting and Concurring Opinion Public Interest
Winter, 1971
22 25-44 See also: media See also: violence See also: sexuality This article was among those written by social, legal, and political conservatives in the aftermath of the 1970 Report by the President Commission on Obscenity and Pornography. They warned that pornography dehumanized society, eroded self-restraint, undermined democratic government, and, when disseminated through mass media, could even destroy civilization. The 1970 Report of the President Commission on Obscenity and Pornography argued that pornography and erotica were essential harmless and that restrictions imposed on them by society should be loosened. conservatives sexuality motion pictures mass media First Amendment media effects crime freedom law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship First Amendment, and pornography pornography, and First Amendment critics Marshal Cohen On Pornography: II -- Dissenting and Concurring Opinion 12480 Bickel, Karl A. New Empires: The Newspaper and the Radio Philadelphia J. B. Lippincott Company
1930
This short book (112 pages) grew out of an address to journalism educators at Ohio State University in April, 1930. The author is interested in how the radio was beginning to change the nature of news and the newspaper business. He notes that several changes are underway that will vastly expand the “boundaries of men’s minds”: radio, television (which he sees as “just around the corner”), and talking motion pictures which through newsreels are presenting current events. These developments are inevitably merging to enlarge the reporting of news, and Bickel believed this to be a positive trend. Among the changes that radio were bringing, Bickel said, was that radio would come increasingly to be used for flash news, or bulletins, thus leading to the decline of “extra” editions from newspapers. Bickel did not see the new media of radio, talking pictures, and television threatening the existence of newspaper. Rather by widen people’s intellectual horizons, there would be an increased demand to read about events in more detail.
Bickel did have concerns about radio. He believed radio broadcasting in 1930 was dominated by the electric power industry in the United States. He believe diversifying ownership of local stations was important. He also realized that radio provided a powerful tool for government or special interest propagandists. He warned that excessive government regulation would damage broadcasting excellence.
This work contains an appendix listing more than 90 U. S. radio stations affiliated with newspapers in 1930. (81-85) Another appendix (86-112) gives a brief summary of the relationship between radio and government in 39 countries. USSR censorship and ratings regulation public relations advertising motion pictures journalism law news and journalism non-USA radio propaganda propaganda, and radio radio, and propaganda newspapers newspapers, and radio radio, and news radio, and newspapers news, and radio motion pictures and popular culture motion pictures, and news television television, and news radio, and newspaper affiliation radio, and journalism radio, and journalism education regulation, and radio radio, and regulation radio, global Argentina Argentina, and radio Australia Australia, and radio Austria Austria, and radio Bolivia Bolivia, and radio Great Britain Great Britain, and radio Bulgaria Bulgaria, and radio Canada Canada, and radio Canary Islands, and radio Chile Chile, and radio Costa Rica Costa Rica, and radio Cuba Cuba, and radio Czechoslovakia Czechoslovakia, and radio Danzig, and radio Denmark Denmark, and radio Ecuador Ecuador, and radio France France, and radio Germany Germany, and radio Greece Greece, and radio Guatemala, and radio Haiti, and radio Netherlands Netherlands, and radio Hungary Hungary, and radio India India, and radio Ireland, and radio Italy Italy, and radio Japan Japan, and radio Latvia, and radio Malta, and radio Mexico Mexico, and radio New Zealand, and radio Nicaragua, and radio Peru, and radio Spain Spain, and radio Sweden Sweden, and radio Switzerland Switzerland, and radio South Africa, and radio Soviet Union Soviet Union, and radio Russia Russia, and radio Venezuela, and radio Yugoslavia Yugoslavia, and radio news regulation Ireland New Zealand Peru South Africa Venezuela advertising and public relations Guatemala Latvia Haiti Bickel, Karl A. New Empires: The Newspaper and the Radio 6570 Bidwell, Shelford Telegraphic Photography and Electric Vision Nature
June 4, 1908
78 105 photography television, and history of photography and visual communication seeing at a distance television television, and origins electricity telegraph telegraph, visual Bidwell, Shelford Telegraphic Photography and Electric Vision 1400 Biederman, Charles Art as the Evolution of Visual Knowledge [Minneapolis] Charles Biederman, Red Wing, Minnesota
1948
Chapter 12 (“Man Captures Records of Light”) deals with the influence of photography (as well as films and television) on art. From the fifteenth to the nineteenth century, “painters ruled the world of art without question.” But, Biederman writes, “With the invention of the Camera we have witnessed the conclusion of one epoch of painting-history -- that epoch predominantly characterized by the attempt to copy and create a permanent record of nature’s appearances.” photography seeing at a distance preservation postmodernism modernism modernity history, and new media photography and visual communication iconography history daguerreotype photography, and art photography, and new way of seeing icons cubism photography, and modernism photography, and reality photography, and modern art photography, and history history, and photography motion pictures television modernism new way of seeing Biederman, Charles Art as the Evolution of Visual Knowledge 11760 Bigelow, Jacob Elements of Technology Taken Chiefly from a Course of Lectures Delivered at Cambridge, on the Application of the Sciences to the Useful Arts 2 Boston Hilliard, Gray, Little and Wilkins
1831
Several chapters of this 500-page work are relevant to communication. Chapter 3 deals with the "Arts of Writing and Printing," and covers such topics as coping machines, printing presses, stereotyping, and machine printing. Chapter 4, entitled "Arts of Designing and Painting," treats color, as does Chapter 18, entitled "Arts of Communicating and Modifying Color." Chapter 5 deals with engraving and lithography. Chapter 9, "Arts of Illumination," discusses various lamps (gas, coal, oil). Chapter 10, "Arts of Locomotion," and Chapter 12, "Of the Moving Forces use in the Arts," treats locomotion and has material on roads, railroads, and steam power. Chapter 16, "Arts of Horology," considers clocks and watches. photography time and timekeeping print engines timekeeping, and clocks general studies photography and visual communication color lithography engraving transportation railroads engines, steam writing printing stereotyping timekeeping clocks watches copying machines duplicating technologies stereotyping Bigelow, Jacob Elements of Technology Taken Chiefly from a Course of Lectures Delivered at Cambridge, on the Application of the Sciences to the Useful Arts 6580 Bilby, Kenneth The General: David Sarnoff and the Rise of the Communications Industry New York Columbia University Press
1991
This "unofficial biography" traces the life of one of the pioneers of the American communications industry, David Sarnoff. Bilby, a one time associate and RCA manager, traveled with Sanroff during the 1960s, the General's final active years. The book recounts Sarnoff's work as a Marconi telegraph operator, rising through the ranks to become President of NBC and shepherd of radio, television, and eventually color television.
The book reveals that the story regarding Sarnoff and his relationship with the Titanic sinking was a myth. The myth held that Sarnoff was the first telegraph operator to receive word of the sinking of the Titanic and stayed on the wire for 72 hours, with the blessing of President William Howard Taft, until all family members were notified. Bilby explains it was actually a Wanamaker's department store promotion, that three men manned the telegraph wire, and Taft was not involved.
Bilby paints Sarnoff as a man obsessed with image, pretense, and legacy. Sarnoff ached to be an important part of his adopted land and to wanted to be remembered as "the Father of Television." Bilby's book follows a traditional rags-to-riches story of the immigrant arriving in America at the turn-of-the-century who goes on to overcome great hardship and poverty, eventually rising to the pinnacle of success.
--Robert Pondillo corporations corporations corporations Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories television biography Sarnoff, David Titanic RCA NBC Wanamaker's Pondillo, Robert Bilby, Kenneth The General: David Sarnoff and the Rise of the Communications Industry 11940 Bimber, Bruce The Politics of Expertise in Congress: The Rise and Fall of the Office of Technology Assessment Albany, N.Y. State University of New York Press
1996
This brief 128-page book provides an informative look at the Office of Technology Assessment, an agency created by Congress in 1972. This legislative unit, which was concerned with the social effects of new technologies, operated until 1995 when a Republican-controlled Congress voted to terminate it operations. The author’s background is in electrical engineering and political science. An underlying theme of this work is the “possibility of isolating objective truths from human values, and the ability to capture what is most important about public life with science, shapes both experts’ attempts to inform policy-making and scholars’ struggles to define methodology for understanding political action.”
This work focuses on the relationship between experts and politicians rather than on the content of the OTA’s many studies about specific technologies. Senator Edward M. Kennedy was one of the initial supports of OTA and later Vice President Al Gore was one of the OTA’s major patrons. But Bimber challenges the prevailing theory that experts tend to become more politicized the longer and closer they are near the exercise of power. Because Congress is “an institution with a highly pluralistic distribution of power,” it “tends to reward experts who provide broadly applicable, politically uncommitted expertise.” This work maintains that “Congress is actually quite successful at producing neutrally competent advisors,” unlike the Executive Office of the President where experts are confronted with different incentives. Over the years, the OTA came to provide Congress with relatively unbiased assessments of new technologies’ social impact.
Bimber has not attempted an exhaustive history of the OTA. He concentrates on the “essential outlines of the agency’s life.” The work has nine chapters. After an introductory chapter, Chapter 2 makes comparisons between the OTA and the Office of Management and Budget, and with the President’s Science Advisory Committee. Chapter 3 gives an overview of the OTA and some ways legislators used information from the agency. Chapter 4 deals with the OTA origins, while Chapter 5 considers matters of “neutrality and politicization.” Chapter 6 examines the OTA’s survival strategy with the committee system. Chapter 7 explains why the OTA was abolished. Chapter 8 compares the OTA to the Congressional Budget Office, the Congressional Research Service, and the General Accounting Office. Chapter 9 attempts to draw “lessons from the record of OTA as a case study in the politics of expertise.” technology Office of Technology Assessment (OTA) nationalism science government nationalism and communication OTA Gore, Al Kennedy, Edward M. Gibbons, John H. President’s Science Advisory Committee U. S. Congress scientific research experts technology and society technology, and Congress U. S. Congress, and technology technology, and politicians technology assessment experts, and U. S. Congress experts, and politicians information age Congress, U. S. presidents and new media Bimber, Bruce The Politics of Expertise in Congress: The Rise and Fall of the Office of Technology Assessment 14680 Binder, J. W. The Persecuted Movies [letter to editor] New York Times
Oct. 23, 1915
10 J. W. Binder, Executive Secretary of the Motion Picture Board of Trade, quotes the NYT as saying that “Movie Posters Lure Boys from Their Home.” He says movies are only the latest scapegoat for wayward youth. Cigarettes and dime novels had been blamed before. children censorship photography advertising and public relations motion pictures advertising advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising motion pictures violence motion pictures, and violence violence, and motion pictures violence, and advertising advertising, and violence posters, and motion pictures motion pictures, and posters censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and movie posters children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children theaters motion pictures, and theaters theaters, and motion pictures theaters, and movie advertising theaters, and posters posters, and theaters advertising, and movie theaters posters Binder, J. W. The Persecuted Movies [letter to editor] 32990 Bird, William L.// Harry R. Rubenstein Design for Victory: World War II Posters on the American Home Front Princeton Princeton Architectural Press
1998
Posters were an important means during the Second World War to mobilize the American home front for the conflict that its country was engaged in. The most important purpose of posters was to link the military front with the home front. Through posters the government tried to convince its people that they too were part of the military machine and that they were obliged to fulfill their patriotic duty. The most important task of the working people in America was to boost production in order to increase the military strength. The government emphasized that an effort war the increase in war productivity would not result in personal gain for the workers. The government wanted people to change their attitude from antagonism of the war to cooperation. The posters celebrated the life of the middle-class families. They showed what kind or role people could have and how efforts during the war would lead to an ideal postwar world.
There were hundreds and thousands of posters produced because the Office of War Information, responsible for the war propaganda, decided that the government had to shout in everybody’s face. There was no way for ordinary citizens to stay out of the war. The OWI wanted to have a propaganda poster everywhere people looked.
The most important feature of a successful poster was that it was supposed to appeal to the emotion of the reader. Americans had to become emotionally involved with the war so that would feel obliged to fulfill their patriotic duty. Appealing to the emotion was not enough, however. The OWI needed to prevent the production of posters which promised the safe return of a loved one if people increased productivity of the war. Furthermore, the posters should not be recognized as a political message because people would not accept political propaganda. Also pictures of mutilation and death would demoralize the public. However, they had to show the seriousness of the conflict to prevent the public from becoming skeptic.
--Pieter Van Den Berg Van Den Berg, Pieter propaganda advertising and public relations democracy democracy, and propaganda propaganda, and democracy propaganda, and posters posters posters, and propaganda war war, and posters posters, and World War II World War II World War II, and propaganda propaganda. and World War II posters, and World War II World War II, and posters media effects media effects, and war posters media effects, and propaganda photography and visual communication war, and visual communication World War II, and visual communication advertising photography Bird, William L.// Harry R. Rubenstein Design for Victory: World War II Posters on the American Home Front 11290 Bird, William L. Jr. "Better Living": Advertising, Media, and the New Vocabulary of Business Leadership, 1935-1955 Evanston, IL Northwestern University Press
1999
Business leaders through their use of public relations and advertising associated their corporations with public virtue rather than money making. They sought to sell their corporation over and above any particular product. In this endeavor, they were able to exploit the latest developments in communication technology -- radio, television, visual imagery in magazines and other publications. advertising, and public relations propaganda public relations propaganda advertising values values general studies advertising public relations values, and advertising capitalism, and advertising values, and corportions capitalism values, and public relations advertising, and new media public relations, and new media Bird, William L. Jr. "Better Living": Advertising, Media, and the New Vocabulary of Business Leadership, 1935-1955 1410 Birren, Faber The Story of ColorFrom Ancient Mysticism to Modern Science Westport, CT Crimson Press
1941
Birren says that in this book the “ambition is a sizable one, but here in these pages is an attempt to review the history of color.” Birren discusses such major figures as Aristotle, Pliny, Da Vinci, Albert Munsell, Wilhelm Ostwald, but his commentary is often discursive and vague on chronology. Two appendices are of interestA) “The Symbolism of Color” and B) “The Psychology of Color.” photography photography and visual communication color, and history of color, and psychology of color, and symbolism of color, and mysticism color, and science color Birren, Faber The Story of ColorFrom Ancient Mysticism to Modern Science 2190 Bishop, Jerry E. & Michael Waldholz GenomeThe Story of the Most Astonishing Scientific Adventure of Our Time -- The Attempt to Map All the Genes in the Human Body New York Simon and Schuster
1990
Two science writers for the Wall Street Journal produced this thoughtful book aimed at nonspecialized readers. They argue that while genetic discoveries have not been kept secret, their implications for society have not been adequately considered. They note that by 1989, ethicists had begun to warn that “gene discoveries would lead to the creation of a new social stratum called the biological underclass.”
Important research unraveling the secrets of genes came during the 1940s when “a series of discoveries began suggesting that genes were composed of an acid found in the nuclei of cells. This nucleic acid which was rich in a sugar called deoxyribose and hence was known as deoxyribonucleic acid, or DNA.” In 1953, British physicist Francis Crick and American biologist James Watson discovered the structure of DNA. Progress followed during the early 1960s when the genetic code was broken. By the middle of the 1970s, enzymes had been discovered “that could snip pieces of DNA out of one organism’s genome and splice it into the genome of another organism.” Techniques known as amniocentesis and later chorionic villus made sampling for chromosomal defects possible and led to widespread prenatal testing during the 1980s, and to the routine termination of pregnancies “for reasons that would have left previous generations aghast.”
By the late 1970s, “geneticists and molecular biologists were frustrated in the decades-long hunt for the human gene. It was as though they stood on the steps of some huge Alexandrian library where the accumulated genetic knowledge of three billion years of evolution was stored. They knew the architecture of the library with its twenty-three pairs of wings. They knew the alphabet used to write its 50,000 to 100,000 tomes. They even knew the titles of a few of the genetic tomes. But they had no way of finding which books lay in each wing and on each shelf. What they desperately needed was a map.
“Then, almost unexpectedly, several lines of biological and medical research began to converge, and the means of drawing the genetic map became evident. The ‘genomic library’ was suddenly accessible. Humans were about to gain unprecedented mastery of their genetic destines.” values preservation history, and new media genetics history values artificial intelligence and biotechnology abortion genome genetic engineering Watson, James Crick, Francis DNA amniocentesis chorionic villus prenatal testing genetic code values, and genetic engineering chromosomes history, break with Bishop, Jerry E. & Michael Waldholz GenomeThe Story of the Most Astonishing Scientific Adventure of Our Time -- The Attempt to Map All the Genes in the Human Body 23730 Bishop, Katherine Justice Dept. Team Leading Broad Effort on Obscenity New York Times
Aug. 22, 1987
6A This article covers legal strategies to prosecute pornographers in the aftermath of the Meese Commission report on pornography. It discusses a new federal enforcement unit and the use of racketeering laws in obscenity cases. presidents, and new media Reagan administration values sexuality values obscenity Meese Commission pornography pornography, and Meese Commission pornography, and opponents pornography, and legal obscenity, and pornography pornography, and obscenity obscenity, and legal Reagan administration, and pornography pornography, and Reagan administration censorship and ratings law Bishop, Katherine Justice Dept. Team Leading Broad Effort on Obscenity 38340 Black, Alexander Glimpses into the Future: VII -- Some Photographic Possibilities Youth's Companion
July 18, 1901
75 29 359-60 Black predicts that the speed of photography will become faster and that photography will move toward the ideal of "instantaneous photography by any light sufficient for the eye." (359) He talks about taking moving pictures in the light of the home to capture family members and to display these the way pictures are displayed in a family album. "In this way we shall have, not an instant of arrested motion, but a series of moments such as we watch in a conversation, and we may, by averaging these, get a broader, truer impression such as the wise painter seeks to express." (359)
Greater speed in photography and discovering a way to transmit "these pictures by wire" will mean "we shall watch war at the library table -- yes, and hear the shells over the same wire." (359) Black sees the day when "we shall have photography in colors ... not merely iridescent surfaces or combination color plates, but the real things, an image in the colors of nature. This color photography will probably be more in the form of a positive, like the ferrotype plate (tintype), than in the form of a negative." (359) Possibly by 1912, we should "have literal copies of works of art, faithful to color as the present useul copies are faithful to form and tone. The value of these in art education would be very great." (359)
Black concludes by saying that "photography must be the great pictorial historian of the future; not absolutely truthful and impartial, for no historian can be that. ... But no historian will be more versatile, more indefatigable, more captivating to the fancy, more suggestive to the thinker, more helpful toward pictorial truth." (360) celebrity celebrity culture photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing photography, instantaneous photography and visual communication photography, and speed of color color, and photography photography, and color motion pictures motion pictures, and personality personality, and motion pictures motion pictures, and photography photography, and personality photography, and motion pictures lighting lighting, and photography photography, and lighting education education, and color photography art, and color photography history and new media history, and photography photography, and history personality art history Black, Alexander Glimpses into the Future: VII -- Some Photographic Possibilities 37000 Black, Alexander How to Give a Picture-Play Ladies' Home Journal
Oct. 1898
15 11 25 Alexander Black, who was the inventor of the "Picture Play" and literary editor of the Brooklyn Times, discusses how to create the Picture Play in this short article. "Allow for about fifty words for each picture -- that is to say, for each change in the grouping of characters," he advises. stereopticons art photography motion pictures presidents and new media photography and visual communication president, and motion pictures Black, Alexander picture plays motion pictures, and picture plays motion pictures, and new art form photography, and picture plays stereopticons, and picture plays art, and photography photography, and art actors acting Black, Alexander How to Give a Picture-Play 16450 Black, Alexander Making the First Picture Play: The Forerunner of the Movie Drama Described by the Pioneer Screen Playwright McBride's Magazine
Oct. 1915
96 574 64-69 This article, written by a writer-artist who helped to develop the "picture play," offers an insightful account of how moving pictures changed in the space of about two decades between 1894 and 1915. It begins with President Grover Cleveland asking "What is a picture play?" (64) The author had "used the term in an outline of my mission at the White House" probably sometime in 1895 or 1896. While gaining access to Cleveland was difficult, once at the White House, Black had the president's cooperation. "An so he found an actual bill that was to be signed, and we worked out the series of pictures quite in accordance with the allusions in the story." (64)
Black hoped to capture reality. "The truth is that my first notion of a play on a white sheet was influenced from the beginning by the conviction that the effect should be of real life; that is to say, not only as to the actual celebrities who might be mentioned in the story, but as to all the other characters, for which I sought those who in each case 'looked the part,' rather than people of the stage made up to look the part." (65)
Black prepared a story of about 14,000 words, about the length of a normal stage play. "The idea of drama on a white sheet was a result of my earlier experiences in exploiting photographs of life in an illustrated talk called 'Ourselves as Others See Us.'" (66) Black continues: "Why not choose characters to illustrate a consecutive story? Why not take a series of pictures with the same setting so that lantern slides might be made to register perfectly enough to give the effect of slow movement in the figures? Muybridge and others had done this with short series. Edison had expanded the idea in much longer series in his kinetoscope." (66)
Although Black was told that photographs, especially of groups, were likely to capture his subjects in an unnatural way, he proceeded. "Miss Blanch Bayliss, whose face had been known to admirers of A. B. Wenzell's drawings, was the heroine in more than title.... (66)
Black discusses the hand camera he used and the use of arc lamps. Indoor scenes proved challenging. He talks about the problems associated with dissolving one lantern slide into another. (67)
Black's picture play projected about four images per minute which gave the impression of slow motion. "The elemental slow motion effect of these first picture plays, while basically the same [as later moving pictures], made, of course, but a limited call on this faculty of the eyes [the illusion of motion], for the changes occurred but four times in a minute. It was a hand-whittled effect compared with the work of exquisite machinery." (68)
Black laments that he did not use the "close up" in his play. "Speaking of realism, let me confess that I hampered myself by the severe logic of the play form. A pictured curtain rose and fell. There were three acts and a 'curtain call.' The picture space had the form of a proscenium arch. I endeavored to keep the figures the same height throughout. While there seems to be less than the needed nicety in the opening and closing of the modern screen play, there can be no doubt of the big advantage gained by forgetting the state in concentrating on one or two figures, and in giving them the full screen for all the emphasis there may be in this method. The interest of the spectator is now, and should be, the basis of treatment. If a ring on the heroine's hand is the focal point of interest, enlarging that hand to the limits of the screen, so that hand and ring are clearly to be studied by the man in the back seat, is as if the narrator had invited you forward to the very verge of the action, or had come toward you fully to meet the curiosity of the moment. A use of this method would have saved me much labor." (68) (my emphasis)
Black discusses how one can project a character's thoughts on screen. Referring to his earlier picture play: "While the 'Dream of Fair Women' in 'Miss Jerry' introduced the illustration of a character's thoughts 68/69 by the simple use of the superimposed image, blended and retired, a vast range of illusion was impossible in this halting method. The perfected motion picture machine opened the door to modern inventive device. A stupendous industry, backed by millions in money, with armies of trained camera actors, led by masters of the new medium of expression, have introduced an astonishingly powerful elements into the field of pictorialized fiction." (68-69)
Black speculates on why it took so long for full-length pictures to appear. Early films were difficult to watch for more than five minutes and difficult to duplicate. There were great techological improvements between 1894 to 1915, comparable to the change from the medieval hand-made pamphlet to the modern newspaper. "Oddly it was more than sixteen years after the slow-motion 'Miss Jerry' that full length plays in full motion began to appear.
"The delay had not been due to mechanical difficulties alone. It is true that the first full motion pictures were trying to the eyes, so trying that five minutes seemed to approximate the limit of sustained attention. But the picture play as a popular institution had to find itself-- and its audiences. The immense duplication was too fantastically unthinkable even for a dream. Everything associated with a picture play and its putting forward was to me a matter of nicety, of cautious delicacy, of lantern difficulties, of special skill in the operator, of laboriously synchronized smoothness.
"Of course, I was told that if I wanted to get rich I must duplicate my plays. This was just as plain at the end of five years as at the beginning. The thought of a single duplicate gave me a chill. Artistically the plays might have been duplicated, but artistically I could not have afforded to duplicate them on any basis that would have been profitable. This is to say that only a good reader (they forgave bad reading in the author) in partnership with a highly skilled operator could have worked out the salvation of the idea. And this explains why the first picture plays remained for so many years a one-man experiment.
"To-day no reader is needed; and the modern projection machine runs by a motor. The contrast is as wide as between a medieval pen-made pamphlet and a modern newspaper." (69) (my emphasis)
When one understands the nature of moving pictures as they have evolved in 1915, Black says it hardly unreasonable to pay a movie star like Mary Pickford $2,000 a week "when you consider that this art which needs no translator is distributed to the ends of the earth, and may be presented in the smallest village precisely as it appears in the finest theater.
"Literally the screen play has made all the world a stage -- and an auditorium. Because it is an art, it can be vulgar as well as powerful.. Because it holds the attention of so many millions of eyes and minds, it can misuse its power. Because it must be spawned so prodigiously, it is always in danger of becoming thin and cheap. Those are trite misgivings. I have no doubt they said the same sort of thing about the first printing types. The interesting fact to realize -- and this is trite, too -- is that the picture play has only passed from the period of infancy to that of ambitious and sometimes ungainly youth. As a field for the exercise of the human imagination it surely offers an extraordinary challenge." (69) theater stage Muybridge, Edward Muybridge, Eadweard fame facial expressions celebrity metaphors actors acting actors acting photography motion pictures presidents and new media Cleveland, Grover Cleveland, Grover, and photography Cleveland, Grover, and picture plays photography, and Grover Cleveland photography, and presidents photography and visual communication president, and motion pictures Cleveland, Grover, and motion pictures Cleveland, Grover, and lantern slides Muybridge, Edward, and motion pictures Edison, Thomas Edison, Thomas, and kinetoscope kinetoscope motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars (origins) photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, hand motion pictures, and slow motion close-ups, and motion pictures motion pictures, and close-ups theater and stage motion pictures, and stage stage, and motion pictures acting, and facial expression actors, and facial expression facial expressions, and acting motion pictures, and narrative (origins) motion pictures, and duplication motion pictures, and historical analogies duplicating technologies duplicating technologies, and motion pictures motion pictures, and duplicating technologies motion pictures, and distribution motion pictures, and printing press Pickford, Mary Black, Alexander picture plays Black, Alexander Making the First Picture Play: The Forerunner of the Movie Drama Described by the Pioneer Screen Playwright 36980 [Black, Alexander A Novel Photographic Play Los Angeles Times
Aug. 28, 1895
10 This article presents an excerpt from an article by Alexander Black in Scribner's (Sept. 1985) issue on the nature of the "picture play." Black said that "Primarily my purpose was to illustrate art with life. Five or six years ago, when my plan was first made, I discovered several instances in which photographs from life were used to illustrate fiction, and many other instances in which fiction evidently had been adjusted to photographs from life. Neither of these phases offered any practical hint toward the picture play. The suggestion definitely came through a group of photographic studies from living characters, which were tossed together in a 'picture talk' that I called 'Ourselves as Others See Us.' After outlining a combination of fiction and photography, each devised with a regard for the demands and limitations of the other, it began to be quite clear that the pictures must do more than illustrate. Thus there would be two points of radical difference from the illustrator's scheme. In the first place, the pictures would be primary, the text secondary. Again, the pictures would not be art at all in the illustrator's sense, but simply the art of tableau vivant plus the science of photography. If it is the function of art to translate nature, it is the privilege of photography to transmit nature. But in this case the tableaux vivants must be progressive, that the effect of reality may arise not from the suspended action of isolated pictures, but from the blending of many. Here the stereopticon came to my aid." stereopticons art photography motion pictures presidents and new media photography and visual communication president, and motion pictures Black, Alexander picture plays motion pictures, and picture plays motion pictures, and new art form photography, and picture plays stereopticons, and picture plays art, and photography photography, and art actors acting [Black, Alexander A Novel Photographic Play 37810 Black, Alexander The Photograph Los Angeles Times
Dec. 3, 1893
7 Alexander Black attempts to demystify trick photography, explaining, for example, how photographs can be made to picture "ghosts." In taking a portrait, the exposure time might be five seconds. At the end of two seconds the camera opening in closed, a person gets up and leaves, and then the camera opening is opened again. Black concludes the articles by saying that "Photography is an energetic science. It has shown us th upper surface of thunder clouds in action. It has shown us the heart of a coal mine. The camera gets into the rigging of ships, and into the catacombs. It registers vibrations in the vocal cords of the human throat. It is reporting men, as well as the earth, inside and out."
The article's subtitle reads: "Its Work Is Not So Mighty Mysterious. When You Know How It Is Done -- The Camera Wizard Always Waits for Your Expression of Astonishment." photography and visual communication photography, and truth photography, and ghosts photography, and special effects special effects, and photography photography, and exposure time cameras, and exposure time cameras, and trick photography cameras photography special effects Black, Alexander The Photograph 41700 Black, Alexander Through a Detective Camera St. Nicholas: An Illustrated Magazine for Young Folks
Oct. 1890
17 12 1022-34 Alexander Black begins by discussing the difficulties of photographing a baby before the invention of portable, handheld cameras. These more portable detective cameras allow the photographer to capture lifelike, often rapid, movement. Black writes that "Before the 'detective' appeared there had been no means of catching those quickly vanishing phases of character and action which we now so delight to study; and the discovery that the portable picture-box could be carried and operated without exciting suspicion, among the children (or among their elders either, for that matter), was a promising discovery. It was like striking a new vein of precious metal in an abandoned mine. It opened up opportunities for picturing much that was curious, much that was beautiful, and, above all, much that was true...." (1023) (emphasis in original text) Later, Black says that "The amateur photographer is the historian of the summer boarding-house." (1033) personality cameras cameras, and movement cameras, and portability motion pictures, and movement cameras, hand photography and visual communication photography, and cameras Black, Alexander, and portable cameras cameras, and handheld cameras, and detective photography photography, and handheld cameras history and new media photography, and history history, and photography photography, and personality personality, and photography photography, and truth values values, and photography photography, and values children and media children, and detective cameras photography, and children children, and photography Black, Alexander children history motion pictures Black, Alexander Through a Detective Camera 12670 Black, Edwin IBM and the Holocaust: The Strategic Alliance between Nazi Germany and America’s Most Powerful Corporation New York Crown Publishers
2001
Black argues that an alliance developed between Adolf Hitler and IBM, beginning in 1933 and running through World War II. IBM and its subsidiaries created technologies, starting the with Hollerith punch cards machines of the 1930s, that helped the Nazis to identify and locate rapidly European Jews. Indeed, IBM technology helped the Germans to organize not only Jews but censuses, registration, Nazi businesses, the German military, train schedules, and the slave labor in concentration camps. Most literature about the Holocaust, with a few exceptions, do not discuss the Hollerith technology, the author says.
This book is based on research in numerous archives. The author worked in archival collections in the United States, England, Israel, and Germany. Black says that he more than 20,000 pages of documents in fifty archives, museum files, and other collections, including previously classified State Department and OSS material. He notes that more than 100 people in seven countries helped to locate and translate documents. Black is the son of Polish Holocaust survivors. R & D Jews computers nationalism corporations corporations corporations World War II new media research and development war Hitler, Adolf war non-USA computers and the Internet computers computers, and punch cards nationalism and communication computers, and national power computers, and Hollerith technology Hollerith technology IBM IBM, and Germany Germany, and IBM Germany Hollerith technology, and Nazi Germany Hitler, Adolf, and Hollerith technology IBM, and Hitler Hitler, Adolf, and IBM new media, and Holocaust Holocaust, and new media IBM, and Holocaust Holocaust, and IBM World War II, and new media new media, and World War II Hollerith, and punch cards Hollerith, Herman military communication military communication, and Hollerith technology Watson, Thomas, and IBM IBM, and Thomas Watson IBM, and Jews Jews, and IBM Watson, Thomas Black, Edwin IBM and the Holocaust: The Strategic Alliance between Nazi Germany and America’s Most Powerful Corporation 6120 Black, Gregory D. The Catholic Crusade Against the Movies, 1940-1975 New York Cambridge University Press
1997
This, the second volume in Black’s history of Catholics and American film censorship, brings the story into the mid-1970s. Some of the ground here has been covered earlier by Frank Walsh (on the Legion of Decency) and such writers as Frank Miller, and Leff and Simmons (on the censorship of specific films). Black is good in discussing the censorship of individual films. For example, he explains that several challenges to the PCA preceded the decision to come down hard on the foreign movie, The Miracle, the picture that led to the U.S. Supreme Court in 1952 to give cinema protection under the First Amendment for the first time. It is not clear why Black chose 1940 and 1975 as the starting and ending points of this work. The work deals with efforts to regulate this medium although it does not deal with film technology per se. self-regulation Production Code PCA values Christianity Production Code (motion pictures) freedom law values religion censorship and ratings law censorship and ratings values regulation Production Code (1930) motion pictures First Amendment motion pictures censorship, and motion pictures motion pictures, and censorship values, and motion pictures regulation, and motion pictures Catholics, and film censorship First Amendment, and motion pictures Production Code Administration (PCA) Legion of Decency Breen, Joseph Hays, Will H. Catholic Church censorship children, and media children Production Code (motion pictures) Production Code, and decline of Black, Gregory D. The Catholic Crusade Against the Movies, 1940-1975 6130 Black, Gregory D. Hollywood Censored: Morality Codes, Catholics, and the Movies New York Cambridge University Press
1994
This work is the best book on Catholics and movie censorship in the United States during the 1930s. During this decade, Catholic leaders in the United States and elsewhere viewed the technology of cinema as a threat to fundamental values. Black's work is based on research in the Production Code Administration Files in Beverly Hills, CA, and in several archdiocese archives. self-regulation Production Code PCA values Christianity Production Code (motion pictures) Production Code (motion pictures) religion values morality law values religion censorship and ratings law censorship and ratings values regulation Production Code (1930) motion pictures motion pictures censorship, and motion pictures motion pictures, and censorship values, and motion pictures regulation, and motion pictures Catholics, and film censorship Production Code Administration (PCA) Breen, Joseph Legion of Decency Hays, Will H. Catholic Church censorship children, and media children, and movie morality motion pictures, and morality motion pictures, and critics Payne Fund Studies bibliographic essay, Payne Fund Studies children bibliographies bibliographies, and Payne Fund Studies Ireland Ireland, and Catholic morality Black, Gregory D. Hollywood Censored: Morality Codes, Catholics, and the Movies 860 Blackwood, George The Advertising of Ideas Labor and Nation
Fall 1950
7 4 25-27 See also: office Blackwood describes techniques used to influence public opinion and implies that union members and others should recognize these techniques to counteract idea advertising by big business. Blackwood provides examples of 14 strategies for influencing opinion, including an “appeal to the emotions,” especially hope and fear. He notes, for instance, that General Motors tried to generate fear among small property owners during the sit-down strike of 1937. “The most predominant pattern,” Blackwood writes of idea advertising, “lies in the adroit use of works, the creation of symbolism which results in glittering generalities.” He notes that advertisers tied their pro-business and anti-union advertising campaigns in the 1940s to symbolism connected to basic values such as freedom, democracy, and Americanism.
--Phil Glende advertising, and public relations propaganda public relations values Glende, Phil labor advertising values, and advertising advertising, and labor labor, and advertising advertising, and anti-labor values Blackwood, George The Advertising of Ideas 18560 Blaetz, Robin Avant-Garde Cinema of the Seventies David A. Cook Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 New York Charles Scribner's Sons
2000
453-87 This chapter in Volume 9 of Scribner's History of the American Cinema Series, edited by Charles Harpole, discuss avant garde and underground films during the 1970s. Many of these works used 16mm and 8mm cameras. underground cinema underground media underground films motion pictures and popular culture motion pictures motion pictures, and history of motion pictures, and avant-garde films underground films, and motion pictures 16mm 16mm, and avant-garde films 8mm 8mm, and avant-garde films Blaetz, Robin Avant-Garde Cinema of the Seventies 34350 Blake, Erin C. Zograscopes, Virtual Reality, and the Mapping of Polite Society in Eighteenth-Century England Lisa Gitelman and Geoffrey B. Pingree New Media, 1740-1915 Cambridge, MA MIT Press
2003
1-29 The author notes that "3-D viewing technology has a very long history." On 3-D device was manufactured in England durng the 1740s. "Between the mid-1740s and the mid-1750s, zograscopes and zograscope prints appeared regularly in English magazine copy and newspaper advertisements, as did hundreds of different engraved, hand-colored images designed for use with the device. Curiously, almost every one of the know engravings from that period has the same subject. Zograscope prints depict the manmade environment, particularly urban topography." (1) The author asks why this was so and why other scenery set in nature were not used.
Blake's essay appears in a volume that is part of a larger series on new media technologies entitled Media In Transition. This volume offers a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. These ten essays examine media that were new in the eighteenth, nineteenth, and early twentieth centuries. The expore "momemts of transition when each new medium was not yet fully defined, its significance in flux...." They attempt to put these media into their "specific material and historical environment" and explain the "ways in which habits and structures of communication are naturalized or normalized." (viii) Great Britain non-USA zograscopes virtual reality camera obscura 3-D cameras Blake, Erin C. Zograscopes, Virtual Reality, and the Mapping of Polite Society in Eighteenth-Century England 39260 Blanchard, Charles A. The Christian and the Theater Herald of Gospel Liberty
April 23, 1914
106 17 527 The author, who was then president of Wheaton College, a private, interdenominational Christian college, begins by asking "What out Christian people to do about the theater?" He also asks "Is the theater essentially evil?" and "If it is not essentially evil, but if attendance upon it works harm and evil to weak Christian, what then is the duty of a Christian who thinks himself strong?" Blanchard says that no theater "makes it a rule to exclude adulteries and murders from its list of dramatic representations."
Blanchard has a low regard for the theater and for actors. He argues that "the business of furnishing amusement to people is in itself doubtful, if not distinctly evil in character. It is a sad fact that those who live to furnish amusement for other people seem to deteriorate in character. An owner and manager of two theaters not a great while since told me that he would not permit is wife and daughters to know actors and actresses. He employed them to amuse the community, but he would not welcome them into his home. In some way they had become such persons as he did not wish his family to know."
Blanchard suggests that the very process of acting in dramas that deal with adultery and murder are damaging. "Is it possible for a man to play for five years, in twenty-five dramas, that he is the husband of twenty-five or thirty different women without suffering spiritual harm? Is it possible for a woman to play that she has been seduced and become an outcast without being morally injured? It is possible for a woman who is married to play that she is married to other persons than her husband and to act the situation as vividly as possible, so as to awaken the interest and applause of the audience without harm? Is it possible for a man to play a murderer or a thief without being injured in character, and is it possible for people to look on while men and women are playing these things without themselves being injured?"
Opera, according to the author, was not better than a live play. "Take the stories of the operas for example. Give to them the attraction of beautiful dressing, charming music, handsome people, and is it possible for adultery and murder, which is the stock in trade of these dramatic representations, to fail of doing their deadly work in the souls of men?"
Part of the problems from Blanchard's point of view was that cheap theater appealed to a lower class of people. "No theater could live on the moneys gathered from the few high-toned plays patronized by intelligent Christian people. The plays must strike lower down, they must attract another class of people, people who have little sense of responsibility to God for their time or money. This is the only class who can afford a sufficient patronage to make the theater, as an institution, a success."
Blanchard says the theater is especially harmful to the young. "The cheap theater of our time, the five and ten-cent theater, is coining money for the proprietors and which is perhaps ruining as many young people as almost any one instrumentality of evil in our time. If you wish to know what goes on within, take a look at the pictures which are exhibited without...." children anti-theatrical bias censorship actors acting critics critics, religious motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings modernity modernity, and motion pictures motion pictures, and modernity sexuality motion pictures, and sexuality sexuality, and motion pictures actors, and bias against actors, and status of theater, and bias against anti-theatrical prejudice critics, and acting critics, and actors critics, and theater audiences audiences, and immoral plays media effects audiences, and media effects media effects, and audiences theater, and class children and media theater, and children children, and theater critics theater Blanchard, Charles A. The Christian and the Theater 9550 Blanchard, Margaret A. Exporting the First Amendment: The Press-Government Crusade of 1945-1952 New York Longman
1986
This work deals with the effort after World War II by American leaders to export its press system to the rest of the world. The effort reflected a belief in American exceptionalism, that American values and ideals could be exported and would take root elsewhere; that virtually every country could be transformed into "a miniature United States in form of government, traditions, and institutions." The American press system could inform the citizens of other nations about the workings of their governments, thus helping to ensure that another Hitler could not rise to power. This endeavor ran into problems, and many nations became cynical about the motives of American journalists. The free-press crusade became part of the ideological struggle against Soviet communism. It was "part of a larger effort by American diplomats and business leaders to create a world safe for democracy by remodeling that world in the image of the United States," the author writes. USSR nationalism Asia Truman administration presidents, and new media public relations advertising journalism news and journalism freedom law censorship and ratings news and journalism war non-USA journalism World War II United Nations news nationalism and communication mission, idea of mission, American American exceptionalism First Amendment, and export of free-press crusade American Newspaper Guild American Society of Newspaper Editors Associated Press censorship, and press Cold War Soviet Union India France Great Britain freedom of information Mexico Lebanon freedom of information news, and nationalism Pakistan Poland propaganda radio China Saudi Arabia Truman, Harry United Nations, and free press United Press World War II, and free press American mission censorship First Amendment capitalism, and free press capitalism public relations advertising and public relations Blanchard, Margaret A. Exporting the First Amendment: The Press-Government Crusade of 1945-1952 41800 Blashfield, Edwin H. 'Movies' Bridge Ages from Cave Man to Us New York Times
March 4, 1917
SM 8 In this article, Blashfield, who was a well-known artist and decorator and President of the Advisory Committee of the Photoplay League, writes about the artistic and educational future of movies. He notes that movies are popular because they are cheap and are available even in small towns where life is dull. But there is a deeper reason for their popularity and it is because they appeal to the eye and are much easier to understand than the printed word. This deeper reason “reaches into the remotest past. When the world was young, man learned to speak long before he learned to write or read. But before he even spoke intelligibly he learned to observe through his eyes. The visual appear came first of all. And today the immediacy of that visual appeal is the same and bridges the ages between the cave man and the spectator of the movies. From this fact we cannot get away. We must reckon with it and we must make the best of it,” Blashfield writes.
Blashfield continues by saying that “Centuries after came St. Augustine and summed up the situation in seven words, ‘Pictures are the Books of the Ignorant.’ To teach her ignorant the Church used them until each cathedral became a great stone Bible, sculptured without and painted within, storied all over with The Word written in marble and stained glass and mosaic. The popularity of the graphic presentation was universal. No written or spoken sentence can reach the mind as swiftly and concentratedly as the thing seen. Music comes next in the suddenness of appeal, but the latter is to the emotions, the road from the eye to the brain still remains shorter than that from the ear. If such was the case in earlier times, what wonder that, when modern science set the pictures moving, their fascination became irresistible.
“Particularly irresistible it must be to those unused to reading, who find here the quick and easy short cut to the story’s understanding. Again think what a mutual message the motion picture carries in a country where common speech is not an inheritance. Before the ‘movies’ Russian and German, Scandinavian and Italian, Englishman and Frenchman, may sit elbow to elbow and vibrate sympathetically, for here is the tongue that was spoken before ever Babel was built, the language of images.
“The man in the street, the dull, featureless street of the little town, or the even duller street far removed from the centre of the great city, has found the short cut to entertainment. It makes no double draft upon him, he does not have to use ears as well as eyes, he is not puzzled with hard words or construction, he can concentrate at once upon what interests him most. His imagination, if sluggish, is stimulated, and if active, is whipped. No wonder that where the way is so clear for him he persists in it.”
Blashfield said that “Crudity, harsh contrasts, violent sensationalism are well liked. The lack of spoken language and the consequent need for dumb show must be supplied by incessant happening….”
Blashfield says that to attempt to censor bad movies will only draw more attention to them. One must encourage good films and only by so doing will cinema become “a read national asset.”
The subtitle of this article reads: "Visual Appeal Always the Same; Says Noted Artist, Who Discusses the Educational and Artistic Future of Motion Pictures." journalism motion pictures critics critics, and motion pictures motion pictures, and critics words vs. images media effects media effects, and motion pictures motion pictures, and media effects violence motion pictures, and violence violence, and motion pictures motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures images vs. words critics motion pictures, and education motion pictures, and education education, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity critics critics, and motion pictures motion pictures, and critics audiences audiences, and motion pictures motion pictures, and audiences censorship and ratings censorship, and motion pictures motion pictures, and censorship censorship Blashfield, Edwin H. 'Movies' Bridge Ages from Cave Man to Us 20830 Blau, Eleanor A Good Time to Ask: What Do We Mean By 'Liberty'? New York Times
June 22, 1986
26 This article reports that Richard D. Heffner, head of the movie industry's Classification and Rating Administration, will chair a conference called "Liberty -- the Next 100 Years." A number of prominent people will participate: psychologist Dr. Kenneth B. Clark, NOW president, Eleanor Smeal, and Holocaust historian, Elie Wiesel. sexuality community democracy freedom motion pictures and popular culture motion pictures motion pictures, and Richard Heffner Heffner, Richard, and background Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Heffner, Richard, and educational TV Heffner, Richard, and freedom democracy, and media pornography First Amendment First Amendment, and pornography Heffner, Richard Heffner, Richard, and First Amendment Liberty--the Next 100 Years Conference Gore, Tipper MacKinnon, Catharine ACLU Heffner, Richard, and ACLU Burns, James MacGregor Wiesel, Elie Heffner, Richard, and Elie Wiesel critics law Blau, Eleanor A Good Time to Ask: What Do We Mean By 'Liberty'? 9560 Bliss, Edward Now the News: The Story of Broadcast Journalism New York Columbia University Press
1991
This work provides interesting information on the origin and development of broadcasting in the United States. The author notes that as early as 1898, “through facilities provided by Marconi’s newly founded wireless company, the Dublin Daily Express received minute-by-minute coverage of the Kingstown Regatta. This was wireless telegraphy- no sportscaster’s voice was heard- and the audience was minuscule. But it was news, and it was heard over the air.” As for the first voice broadcast, while the origins are debated, certain facts are clear. “Reginald Fessenden, working in his Pittsburgh laboratory, succeeded in transmitting his voice by radio in 1901. Logic led him to use a continuous, smooth flowing electromagnetic wave, instead of trying to use the interrupted or staccato-type wave adopted for the transmission of code. This was a radical departure, a heresy so important to the future of broadcasting that Erik Barnouw calls it 'the foundation of radio.'”
With regard to television, “CBS experimental station, W2XAB, went on the air on July 21, 1931, with a stellar program that included George Gershwin, the Boswell Sisters, and Kate Smith, who sang her radio theme song, “When the Moon Comes Over the Mountain.” In the same year, CBS introduced television’s first regularly scheduled news program.” The author also notes the importance of magnetic tape to broadcasting after World War II: “‘One World Flight,’ produced by Norman Corwin and Lee Bland, is notable not only because it was the most ambitious documentary series of the late 1940s, but because of its use of magnetic tape, the new reporting tool. For ‘On a Note of Triumph,’ and his other broadcasts promoting global unity, Corwin had received the Wendell Willkie-Freedom House ‘One World Award.’ The award consisted of a trip around the world, dramatizing Willkie’s concept of one world.” tape recording, magnetic corporations corporations magnetic recording magnetic tape recording tape recording magnetic tape sound recording news and journalism news news and journalism archives news and journalism wireless communication recording, and tape recorders recording tape recording libraries libraries, and information storage radio television sound recording, and magnetic tape magnetic tape wireless broadcasting, and origins CBS Marconi, Guglielmo Fessenden, Reginald Corwin, Norman Willkie, Wendell magnetic tape, and broadcasting information storage electronic media electronic preservation magnetic tape journalism, and broadcasting news, and wireless news, and television radio, and news television, and news magnetic tape, first use journalism wireless Bliss, Edward Now the News: The Story of Broadcast Journalism 28630 Bliven, Bruce The Wonderful Writing Machine New York Random House
[1954]
See also: office In this nicely written, 236-page book, Bliven points out that in 1853 the speed record for hand writing was but 30 word-per-minute. By 1868, Christopher Sholes of Milwaukee, had invented the typewriter. Sholes was not the first person to have invented the typewriter – indeed, he was only the fifty-second, Bliven notes. But his was the first commercial and practical machine to become available. Bliven notes the impact this invention had on women and war. By the 1880s, there was a shortage of trained typists and women increasing entered the workforce in this field. By 1888, there were perhaps 60,000 female typists in the United States. By the mid-twentieth century, the typewriter had been a critical component in military communication. “The captain of a battleship insists that there be fifty-five typewriters on board before he feels equipped to meet the enemy,” Bliven says. “On the ground, as the army move forward, there are more writing machines within four thousand yards of the front lines than medium and light artillery pieces combined.” typewriters women women, and typewriters office, and new media office, and typewriters military communication military communication, and typewriters inventions inventors Sholes, Christopher labor labor, and typewriters typewriters, and women typewriters, and military typewriters, and labor war office Bliven, Bruce The Wonderful Writing Machine 30390 Block, Jerry How NBC-TV Newsreel Crews Filmed the Israeli-Arab War American Cinematographer
Dec., 1967
48 12 866-68 This article discusses how Israeli combat photographers and three NBC camera crews shot about 150,000 feet (or 75 hours) of film in about three to four weeks in the 1967 Israeli-Arab war. Much of the film was 16mm with a magnetic stripe for sound. lenses, zoom magnetic recording news and journalism television newsreels television, and newreels television, and new film cinematography war war, and television television, and war television, and Israeli-Arab War (1967) NBC, and news 16mm 16mm film, and Israeli-Arab War (1967) 16mm film, and TV news television, and 16mm film magnetic tape television, and magnetic tape (1967) sound recording sound recording, and portable cameras sound recording, and 16mm cameras sound recording, and newsreels cameras, and zoom lenses zoom lenses war, and newsreels (1967) cameras motion pictures news lenses 16mm film NBC Block, Jerry How NBC-TV Newsreel Crews Filmed the Israeli-Arab War 3280 Block, Lauren G. and Punam Anand Keller Effects of Self-Efficacy and Vividness on the Persuasiveness of Health Communications Journal of Consumer Psychology
1997
6 1 31-54 See also: violence See also: sexuality The authors write that the used "the literature on self-efficacy and vividness to predict and explain the conditions under which vivid information will be more persuasive than nonvivid information in health communication." The focus on information about sexually transmitted diseases. advertising, and public relations propaganda public relations public relations advertising propaganda media effects media effects, and vividness propaganda, and vividness advertising, and vividness advertising Block, Lauren G. and Punam Anand Keller Effects of Self-Efficacy and Vividness on the Persuasiveness of Health Communications 27590 Blodgett, Nancy Porno Blacklist? Magazines Fight Meese Panel ABA Journal
July 1, 1986
72 28 See 72 A.B. A. J. 28. This article from the American Bar Association deals with efforts by Playboy and Penthouse to fight efforts by anti-pornography groups to have those magazines removed from stores. The magazine sued Attorney General Edwin Meese and the Meese Commission to prevent it from creating a "blacklist" of pornography distributors. presidents, and new media Reagan administration values sexuality sexuality values obscenity Meese Commission law censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography pornography, judicial setbacks Playboy pornography, and Playboy Playboy, and pornography Reagan, Ronald Blodgett, Nancy Porno Blacklist? Magazines Fight Meese Panel 4080 Blondheim, Menahem News Over the Wires: The Telegraph and the Flow of Public Information in America, 1844-1897 Cambridge, MA Harvard University Press
1994
This book examines the rise of the Associated Press and chronicles the AP’s battles with other wire services for dominance in the wire service news industry. During the period covered by Blondheim, the AP battled numerous other news agencies, and had run ins with telegraph companies, all on its way to becoming the number one American wire service. As it grew, the AP served as a funnel to channel and nationalize the news, and according to Blondheim, create a demand for national news.
Blondheim begins by explaining that during the nineteenth century, even prior to the invention and employment of the telegraph, the time-lag between an event and its appearance as news in a newspaper was decreasing. The steam engine, canals and roads all helped to improve transportation within the United States, reducing the time it took for news of events to spread and mail to be carried throughout the nation. The author also argues that the rise of the penny papers, and their greater focus on local news, created a demand for more timely news, as did greater interest in speculation and finance.
The desire for news of the Mexican War was a major impetus behind the formation of the New York Associated Press, according to Blondheim. All the New York newspapers wanted news from the war, but the cost of obtaining it individually was prohibitive. The NYAP forced newspapers to share the cost of obtaining war (and later any) news. It was this model that other news sharing organizations followed.
Blondheim is more interested in the formation and activities of the news organizations than the telegraph itself. He does discuss some of the telegraph companies, noting the often secretive or shady business practices were used to lure investors or triumph over rivals. Blondheim states that the Atlantic Telegraph Company, trying to lay a trans-Atlantic ocean cable in the 1850s, may have faked transmissions on its first cable so as to secure investors for a subsequent cable. By 1859, most American telegraph companies had consolidated into Western Union, a large trust controlling a significant share of the telegraph lines and most telegraph operators and repairmen.
The author devotes significant space to the competition between the Western Associated Press and the New York Associated Press. He chronicles the “Press Association War,” an all-out battle for supremacy (or monopoly) in 1866 and 1867, ending in the breaking of the previously more powerful NYAP. The onset of telegraph regulation in the late 1870s further diminishes the unbridled competition and less-reputable practices of the past.
Politicians during the Gilded Age courted the wire services in order to get more national press coverage. Many tried to befriend executives of Western Union or one of the wire services, both to secure favorable news stories and also to suppress unfavorable ones. Blondheim observes that in 1881 alone, over thirty politicians made requests for special coverage to the Western Associated Press. Perhaps the most striking example of a politician aided by a wire service is Rutherford Hayes, elected to the presidency in 1876. Hayes was a close friend of the president of Western Associated Press. The WAP released damaging information on Hayes’ rivals at the Republican nominating convention, particularly James Blaine. The same occurred in the general election as bad stories about Tilden surfaced right before the election.
Blondheim provides extensive citations and this book is valuable addition to the literature on the wire services. Blondheim’s footnotes are helpful because he often includes additional explanatory information in them. This book, like so many others published in the 1990s, contains an excellent footnote section but no complete bibliography. He lists some primary sources and gives the reader a brief “selected” bibliography. The first time a work is cited the author gives the complete citation, and then refers back to that rather than including a separate bibliography for all materials cited or consulted. But this shortcoming does not undercut this book's value.
--David Henning corporations post office nationalism censorship and ratings journalism news and journalism innovation law news and journalism non-USA journalism journalism Information Age telegraph books, periodicals, newspapers news Henning, David Associated Press Western Union wire services networks information networks Morse, Samuel telegraph, electric inventions inventors signaling systems news syndicates journalism, and 19th century cable, transatlantic transatlantic cable cable, Atlantic nationalism and communication news, and nationalism news, and steam power news, and telegraph postal service penny press regulation, and telegraph cable regulation cable Blondheim, Menahem News Over the Wires: The Telegraph and the Flow of Public Information in America, 1844-1897 25970 Bloomberg Business News Broadcasters Give Clinton Ratings Plan TV Rating System Omaha World-Herald
March 1, 1996
News 13 This article concerns efforts to have the television industry adopt a rating system for its programs. Motion Picture Association of America (MPAA) entertainment classification MPAA self-regulation government hearings entertainment, home Clinton, William Jefferson CARA V-chip, and television violence television, and parents telecommunications presidents, and new media censorship and ratings rating system (U.S.) rating system (U. S.) PTA motion pictures home entertainment government Clinton Administration law regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification home, and new media home home television motion pictures and popular culture Valenti, Jack Valenti, Jack, and TV rating system (U.S.) rating system (U. S.), and TV (1997) V-chip television, and rating system (U. S.) television, and V-chip home entertainment revolution home entertainment, and V-chip television, and PTA PTA, and television television, and critics rating system (U. S.), and critics hearings new media Collings, Tim V-chip, and Tim Collings Telecommunications Act (1996) regulation, and television Valenti, Jack, and television television, and Jack Valenti Clinton, Bill Clinton, Bill, and TV rating system (U. S.) Clinton administration, and TV rating system (U. S.) Bloomberg Business News Broadcasters Give Clinton Ratings Plan TV Rating System 9570 Blum, John Morton V Was for Victory: Politics and American Culture during World War II New York Harcourt Brace Jovanovich
1976
In this readable account of homefront propaganda during World War II, Blum discusses the use of radio, motion pictures, and newspapers for propaganda. This book provides historical context for the use of these media during the war. nationalism Truman administration Roosevelt, Franklin administration presidents, and new media public relations advertising war World War II propaganda radio books, periodicals, newspapers motion pictures Roosevelt, Franklin D. Truman, Harry propaganda World War II, and propaganda propaganda, and World War II nationalism and communication advertising and public relations Blum, John Morton V Was for Victory: Politics and American Culture during World War II 20970 Blumenthal, Ralph Porno chic New York Times Magazine
Jan. 21, 1978
28, 30, 32-34 This article talks about the hard-core pornographic movie Deep Throat (1972),about the fact that it has played in mainstream theaters, and that it has become "chic" for well-known personalities -- Johnny Carson, Mich Nichols, Jack Nicholson -- to attend. One the film "broke in the society columns, it was O.K. to go," one patron is quoted as saying. values sexuality pornography sexuality sexuality values obscenity law censorship and ratings censorship motion pictures and popular culture motion pictures X-rated films motion pictures, and pornography pornography, and motion pictures Playboy Penthouse obscenity, and pornography motion pictures, and obscenity obscenity, and motion pictures law, and pornography Deep Throat (1972) movie Knight, Arthur, and pornography pornography, and Arthur Knight values values, and pornography Blumenthal, Ralph Porno chic 30200 Bluth, Joseph E. More Facts About Vidtronics American Cinematographer
Nov., 1967
48 11 803, 816, 818-20 This talk before the American Society of Cinematographers by Joseph E. Bluth, then Vice President and General Manager of Technicolor Vidtronics Division (Eastman Kodak?), discusses Technicolor's color videotape-to-film transfer process. Bluth notes that "if you were to analyze what is recorded on a piece of tape and the standards by which a color signal is placed on tape you would immediately be aware of the fact that there are some very severe limitations in extracting this information and putting it onto film. It is not like a simple black-and-white signal where you have one entity -- one signal to, in effect, transfer." (803) cinematography television videotape television, and videotape television, and film videotape, and film color videotape, and color television, and color videotape motion pictures magnetic tape magnetic recording Bluth, Joseph E. More Facts About Vidtronics 1390 Boddy, William Fifties Television: The Industry and Its Critics Urbana University of Illinois
1990
Boddy documents the sea change in American television that transformed it from a novelty of little consequence to a broadcast medium that reached into the homes of millions of Americans. Boddy focuses largely on the rise of the big three networks--NBC, ABC, CBS--and explains how cultural and economic imperatives put control of broadcast television into the hands of these networks. One of the major threads of Boddy’s argument is that as commercial sponsorship of television programs shifted from a single-sponsor format to the shorter commercials familiar today, there was an attendant shift away from live drama to telefilms and other types of pre-recorded programming. As Boddy demonstrates over the course of his study, questions of commercial sponsorship were also bound with the troubled relationship between television networks and the Hollywood film industry.
The multiplicity of perspectives that Boddy evokes in his book--from network executives and television playwrights to critics and magazine editors--is both the books greatest strength and its greatest weakness. It is the book’s greatest strength because it shows that despite the great power the networks eventually came to exert over the industry, during the 1950s, they were buffeted by other forces such as public opinion; multiplicity is also the books greatest weakness because Boddy tends to bounce around from perspective to perspective within paragraphs, making it difficult for the reader to gain a sense of the books argumentative arc. That said, it is possible to trace Boddy’s major ideas through the four main sections of the book: “Setting the Stage for Commercial Television”; “The Television Industry in the Early 1950s”; “Programs and Power: Networks, Sponsors, and the Rise of Film Programming”; and “Crisis and Counterattack, 1958-60.”
In the first part of the book, Boddy show that while television eventually came to replace radio as the dominant broadcast medium in America, the television industry in the late 1940s was wary of modeling itself too closely on the early radio industry, which was perceived as too hit or miss (16). Following this contrast with the radio industry, Boddy explains how in 1952 the FCC
located television service in the VHF band (28). Since RCA owned numerous patents relating to this band, they soon became an early leader in the industry. It was RCA, the parent company of NBC, that set the tone for how the television industry would interact with the film industry.
Boddy is perhaps at his best when chronicling the complex relationship between the television and film industries. Traditional historical accounts need to be revised that suggest a mutual lack of interest and collaboration between the film industry and the television networks in the early years of the TV industry. Despite doubts about the viability of either films or original film programming in the early years of the medium, the major Hollywood studies followed events in the television industry very closely (67). In parts two and three of his book, Boddy spends a great deal of time explaining the dimensions of this relationship. Though, for example, there was a certain demand for telefilms, A-list Hollywood films rarely made it onto television, which instead broadcast low-budget films (77). Boddy demonstrates that the networks feared telefilms would lead to deals between individual stations and studio subsidiaries that would leave them out of the financial loop; in order to reassert their control over broadcast content, by the late fifties the networks predominantly showed programs written by their in-house writers.
Despite the sometimes-antagonist relationship between the television and film industries, Boddy shows that once commercial sponsorship began to take off in the mid-fifties, television proved an ideal medium for advertising films. In 1954, for example, the success of the feature-length film 20,000 Leagues Under the Sea was attributed to its promotion on the Disneyland television show (147). Following discussions of how the television and film industries intersected through advertising, Boddy shows that by the late 1950s, television industry practices and programming came to be inexorably linked to commercial sponsorship. In other words, by 1960, Boddy argues, the television industry recognized television was the ultimate advertising medium and began to develop its policies accordingly.
Because the financial success of network television soon depended on showing the largest number of people the sponsors product, the industry made some poor choices that resulted in what Boddy calls TVs Public Relations Crisis of the Late 1950s (214). Citing such examples as the well-known quiz show scandals and the fact that Mutual Broadcasting Company made a deal with Dominican Republic dictator Rafael Trujillo that for $750,000 they would offer 425 minutes of months of favorable coverage, Boddy shows how the television industry grew to become at least partially accountable to the public and vocal television criticsLike their effects on the economic practices of network television, the scandals hardened industry responses to a half-decade of rising critical attacks on the medium. In the process, the television industry, under the leadership of the three networks, offered new public definitions of its programs, its creative workers, and its audience (234).
Fifties Television is a useful book for anybody who wants a detailed account of the rise of television from the perspective of the industry. Boddy succeeds in weaving the complicated social, cultural, and economic milieu in which television was formed into pervasive medium that it remains today.
--Steve Belletto corporations corporations corporations corporations advertising, and public relations propaganda public relations propaganda advertising motion pictures Belletto, Steve television critics critics, and television NBC ABC CBS advertising advertising, and television television, and advertising television, and motion pictures motion pictures and popular culture motion pictures, and television television, and Hollywood public relations television, and public relations public relations, and television Boddy, William Fifties Television: The Industry and Its Critics 34030 Boddy, William Redefining the Home Screen: Technological Convergence as Trauma and Business Plan David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
191-200 This essay examines "the introduction of a new consumer product in the U. S., the digital 'personal video recorder' or PVR in the late 1990s."
Boddy's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. computers video cassette recorders (VCRs) television VCRs computers and the Internet screens digital media video recorders, digital VCRs, and digitization audiences advertising and public relations advertising, and new media future and science fiction future, and advertising advertising, and future VCRs, and advertising advertising, and VCRs television VCRs, and television television, and VCRs VCRs, and digital media personal video recorder digital media, and personal video recorder advertising future video recording Boddy, William Redefining the Home Screen: Technological Convergence as Trauma and Business Plan 6590 Boddy, William Senator Dodd Goes to Hollywood: Investigating Video Violence Lynn Spigel and Michael Curtin eds. The Revolution Wasn’t Televised: Sixties Television and Social Conflict New York and London Routledge
1997
161-83 Boddy writes that Senator Thomas J. Dodd’s intermittent public hearings between 1961 and 1964 produced no new legislation or reform of regulations but “the thousands of pages of testimony and exhibits, including material generated by the unprecedented subpoena of hundreds of confidential business documents, provide a valuable portrait of the commercial television industry and its contested place in American life.” This piece is based on published sources and the published hearings, although apparently not on archival research in Dodd’s papers or related collections. The author concludes that “Dodd’s investigation marks an instance of the tendency of large television institutions to create what John Hartley calls paedocratic regimes, where the presence of children in the television audience is construed to rule all judgments of programmers and regulators.... Whether permissive or censorious, ... discourses construed the television audience as irresponsible and fundamentally childlike.” entertainment government hearings entertainment, home media effects media violence home entertainment government law censorship and ratings law censorship and ratings censorship home, and new media home home, and information technology information technology television regulation television, and regulation Dodd, Thomas J. children, and media television, and children information technology, and home children television, and censorship censorship, and television children, and television violence violence, and television television, and violence hearings hearings, and Sen. Dodd hearings, and TV violence Boddy, William Senator Dodd Goes to Hollywood: Investigating Video Violence 3100 Boden, Margaret A. Artificial Intelligence and Natural Man New York; and Hassocks, Sussex Basic Books, Inc.; and Harvester Press
1977
The author seeks to describe artificial intelligence in a manner that emphasizes its relevance to humans. She attempts to avoid jargon and specialized language. Readers with philosophical or psychological interests in artificial intelligence may find this work most interesting. "Above all," she writes, "I have tried to convey a sense of the relevance of artificial intelligence to the understanding of natural man. Contrary to what most people assume, this field of research has a potential for counteracting the dehumanizing influence of nature science, for suggesting solutions to many traditional problems in the philosophy of mind, and for illuminating the hidden complexities of human thinking and personal psychology. The common view that machine research must tend to display us humiliatingly to ourselves as 'mere clockwork' is false. The more widely this is realized, the less of a threat will artificial intelligence present to humane conceptions of society." (from Preface) The author at the time was a Reader in Philosophy and Psychology at the University of Sussex. computers values communication revolution second industrial revolution communication revolution computers communication revolution, and second industrial revolution values microelectronics human nature computers and the Internet artificial intelligence and biotechnology values, and computers values, and artificial intelligence human nature, and artificial intelligence microelectronics revolution microelectronics revolution, and artificial intelligence communication revolution second industrial revolution computers, and artificial intelligence artificial intelligence, and computers artificial intelligence, and human nature Boden, Margaret A. Artificial Intelligence and Natural Man 3230 Boden, Margaret A. The Social Impact of Thinking Machines Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
95-103 Boden offers a sober reflection on research in artificial intelligence, looking at medical diagnosis systems, and legal advice and education in finance. She takes exception to sensationalistic claims for artificial intelligence. This paper was first published in Futures (Feb. 1984). computers future and science fiction information technology computers and the Internet artificial intelligence and biotechnology future information technology, and medicine information technology, and finance artificial intelligence, and medicine artificial intelligence, and education artificial intelligence, and law Boden, Margaret A. The Social Impact of Thinking Machines 3090 Boden, Margaret A. The Social Implications of Intelligent Machines Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
439-52 At the time of the paper, Boden was a professor pf Philosophy and Psychology at the University of Sussex, England. Here she provides a review of scholarship on the ethical and social issues raised by artificial intelligence. Microelectronics is likely to make intelligent machines much more widespread, which poses a threat to our concept of self. This piece appeared first in The Radio and Electronic Engineer, Vol. 47, No. 8/9 (Aug./Sept. 1977), and is based on chapter 15 in Boden's book Artificial Intelligence and Natural Man (Hassocks, Sussex: Harvester Press, 1977). computers values communication revolution second industrial revolution communication revolution communication revolution, and second industrial revolution values microelectronics human nature computers and the Internet artificial intelligence and biotechnology values, and computers values, and artificial intelligence human nature, and artificial intelligence microelectronics revolution microelectronics revolution, and artificial intelligence communication revolution second industrial revolution Boden, Margaret A. The Social Implications of Intelligent Machines 40860 Boeringer, Pierre N. The Advertiser and the Poster Overland Monthly and Out West Magazine
July 1896
38 163 41-52 billboards art advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards advertising Boeringer, Pierre N. The Advertiser and the Poster 10210 Boettinger, Henry M. Our Sixth-and-a-Half Sense Ithiel de Sola Pool, ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
200-07 The author notes that unlike many other inventions that require some expertise in their use lest they be dangerous, the telephone is different. Its "uniquely phenomenal growth and pervasiveness in our lives can in large measure be ascribed to its ease and safety of use." entertainment entertainment, home home entertainment community democracy home, and new media home home, and information technology information technology telephones information technology, and home democracy and media home, and telephones Boettinger, Henry M. Our Sixth-and-a-Half Sense 11450 Bogard, William The simulation of surveillance: Hypercontrol in telematic societies Cambridge, Eng. Cambridge University Press
1996
See also: office Bogart explores "the relations between surveillance and simulation technologies, and their significance for issues of control in postindustrial or ... 'telematic' societies at the end of the twentieth century." Theoretically, he relies heavily on poststructuralist or postmodernist writers such as Michel Foucault and Jean Baudrillard. Considering computer profiling, virtual reality, artificial intelligence, and genetic mapping, Bogart builds a "social science fiction" that explains how simulation technology revolutionizes the surveillance at work, in war, in sexuality, and in one's private life. R & D computers time and timekeeping time sexuality law, and privacy law labor research and development war labor genetics computers war geography computers and the Internet virtual reality privacy surveillance artificial intelligence and biotechnology genetic engineering computer profiling genetic mapping Foucault, Michel Baudrillard, Jean postmodernism time space (spatial) sexuality, and survelliance military communication office, and new media office, and privacy labor, and privacy office Bogard, William The simulation of surveillance: Hypercontrol in telematic societies 30840 Bohn, Thomas W. and Richard L. Stromgren Light and Shadows: A History of Motion Pictures Port Washington, N.Y. Alfred Publishing Co., Inc.
1975
The author explains the organization of this work as follows: "Although not rigidly defined, the book is divided into three parts. Chapters 1 through 6 present the earliest beginnings of film and continue through the technological improvements and the artistic development that began an industry. The second part (chapters 7 through 11) begins with sound. In this part, the reader is engaged by the problems, frustrations, and inspiration which came from the adddition of the new dimension. The final section begins with an international renaissance, the simultaneous arrival of television, a crucial court decision, politica pressures, and the beginning of the 'new realism' directly after World War II. The concluding chapters in the three sections are intended to serve as an overview of the period, pulling together the evolution of form and function up to those pivotal periods." (xv-xvi)
In the opening chapter, the author discusses the prehistory and origins of cinema. Five important developments formed the needed theoretical and technology base for cinematography -- 1) peristence of vision; 2) photography; 3) the movie camera; 4) film; and 5) the motion picture projector. During the late 1960s, the author notes, te Cinemobile Mark IV appeared that made it much easier to film on location almost anywhere in the world.
-SV

Chapter 7 in this book is entitled “Sound and Color: A New Beginning.” The author takes the position that technology has been essential to the development of the film industry. No artist can transcend the nature of his medium. Especially interesting is the discussion of the ways in which technology directed the movies toward the large mass audience. Among the points made is that technology was extremely expensive, and therefore films needed widespread appeal to recover costs and make money. The point is made that the industry has always turned to technological innovation whenever it has slipped a bit in the affections of the public.
--Gordon Jackson color motion pictures, and color Cinemobile cameras film color, and motion pictures television television, and motion pictures motion pictures, and sound sound recording Jackson, Gordon motion pictures and popular culture motion pictures, and technology sound recording, and motion pictures motion pictures Bohn, Thomas W. and Richard L. Stromgren Light and Shadows: A History of Motion Pictures 30480 Boliek, Brooks Glickman Relishes New Role The Reporter ( Hollywood Reporter) (online)
July 2, 2004
http://www.hollywoodreporter.com/thr/film/ Accessed July 5, 2004 This article discusses Dan Glickman who will replace Jack Valenti as head of the Motion Picture Association of America (MPAA). It talks about Glickman's sense of humor and his ability to work with Congress (he was a former congressman from Kansas). "It's always been my style not to be a bomb thrower, but a diplomat," Glickman said. "You have to be able to work both sides of the aisle. At the Agriculture Department, I was often referred to as the red state diplomat." The article notes that Glickman is active as a donor to the Democratic Party ($20,000 to the Democratic Party, and $2,000 to Senator John Kerry's campaign). Glickman was Secretary of Agriculture under President Bill Clinton. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA CARA Classification and Rating Administration (CARA) motion pictures censorship and ratings censorship Valenti, Jack MPAA Valenti, Jack, and MPAA MPAA, and Jack Valenti Glickman, Dan MPAA, and Dan Glickman CARA, and Dan Glickman CARA Boliek, Brooks Glickman Relishes New Role 7740 Bolter, J. David Turing’s Man: Western Culture in the Computer Age Chapel Hill University of North Carolina Press
1984
Bolter attempts to assess the computer's impact on western culture. The first couple of chapters are interesting in discussing dominant metaphors of the seventeenth and eighteenth centuries (the clock), and the nineteenth (the engine). The author writes that "the age of the computer is in some ways a return to the age of the potter's wheel." Chapter 3 ("Principles of Operation") discusses John von Neumann's computer. The remaining chapters (e.g., "Embodied Symbol" and "Electronic Space", etc.) are less oriented toward providing historical perspective. This book was completed before the widespread use of personal computers and the Internet. computers computers computers and the Internet artificial intelligence and biotechnology Turing, Alan metaphors Neumann, John von computers, and history of Bolter, J. David Turing’s Man: Western Culture in the Computer Age 120 Bolter, Jay David// Richard Grusin Remediation: Understanding New Media Cambridge, MA MIT Press
c1999
Referring to the movie Strange Days (1995), about virtual reality, the authors write that "digital technologies are proliferating faster than our cultural, legal, or educational institutions can keep up with them. In addressing our culture's contradictory imperatives for immediacy and hypermediacy, this film demonstrates what we call a double logic of remediation. Our culture wants both to multiply its media and to erase all traces of mediation: ideally, it wants to erase its media in the very act of multiplying them.
"In this last decade of the twentieth century, we are in an unusual position to appreciate remediation, because of the rapid development of new digital media and the nearly as rapid response by traditional media."
This book is divided into three parts and mostly concerned with "visual technologies, such as computer graphics and the World Wide Web." Part I considers remediation in the context of cultural and literary theory. Readers not especially interested in theory can skip directly to Part II "which illustrates the work of remediation in such media as computer graphics, film, television, the World Wide Web, and virtual reality. These illustrative chapters should make sense even without the fuller explanations of transparent immediacy, hypermediacy, and remediation provided in Part I." Part III turns back to theory to examine "how new digital media are participating in our culture's redefinition of self." The authors offer references ("the rinted equivalent of hyperlinks") for those who do not wish to read this book in a linear fashion. computers special effects, digital special effects, and digitization theory television, and digital special effects seeing at a distance postmodernism modernism motion pictures digitization computers virtual reality computers and the Internet digital media remediation media convergence motion pictures and popular culture motion pictures, and special effects motion pictures, and digital effect digital media, and motion pictures television television, and digital media digital media, and television computer graphics special effects, and computers special effects, and digital media digital media, and special effects World Wide Web new way of seeing digital media, and new way of seeing remediation digital media, and remediation remediation, and digital media theory, and remediation Internet Bolter, Jay David// Richard Grusin Remediation: Understanding New Media 33090 Bolton, Richard ed. The Contest of Meaning: Critical Histories of Photography Cambridge, MA MIT Press
1989
This anthology stresses that photography is regarded not only as a form of the aesthetic practice but also a medium of ideology. Photography, according to this volume, should be understood in a larger social, economic and political context. Being aware of the dissatisfaction of traditional photographic history which “emphasizes homogeneity and continuity” (p. x), the writers shift their focus to the disruptions and change within the history of photography. Some writers discuss about the social impact generated by the dual role of photography as a means of serving democracy and promoting social control. Some focus on the photographic technology which is endowed with spiritual value of people’s everyday life on the one hand. On the other hand, photographs also make the familiar become strange. Hence, the question in the social consequence of photography and the politics of photographic truth is concerned with the heterogeneous interpretations of photographic images. These essays in this volume attempt to demonstrate the works of power relation behind the representation of photographic images and their contested meanings. Contributors include: Douglas Crimp, Christopher Phillips, Benjamin Buchloh, Abigail Solomon Godeau, Catherine Lord, Deborah Bright, Sally Stein, Jan Zita Grover, Carol Squiers, Esther Parada, Richard Bolton, Rosalind Krauss, Martha Rosler, and Allan Sekula.
--Huai-Hsuan Chen art Chen, Huai-Hsuan photography and visual communication tourism photography photography, and travel photography, and tourism photography, and history of photography, and critics critics critics, and photography photography, and women women women, and photography photography, and sexuality sexuality sexuality, and photography photography, and modernism photography, and art art, and photography values values, and photography photography, and values photography, and truth Bolton, Richard ed. The Contest of Meaning: Critical Histories of Photography 22400 Bonniwell, Bernard L. The Social Control of Pornography and Sexual Behavior Annals of the American Academy of Political and Social Science
Sept., 1971
397 97-104 See also: media See also: violence See also: sexuality This article was among those written by social, legal, and political conservatives in the aftermath of the 1970 Report by the President Commission on Obscenity and Pornography. They warned that pornography dehumanized society, eroded self-restraint, undermined democratic government, and, when disseminated through mass media, could even destroy civilization. The 1970 Report of the President Commission on Obscenity and Pornography argued that pornography and erotica were essential harmless and that restrictions imposed on them by society should be loosened. conservatives sexuality motion pictures mass media First Amendment media effects crime freedom law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship First Amendment, and pornography pornography, and First Amendment critics Bonniwell, Bernard L. The Social Control of Pornography and Sexual Behavior 9580 Boorstin, Daniel J. The Americans: The Democratic Experience New York Vintage Books
1973
The Americans 3 This book was the third volume in Boorstin's trilogy on the American experience. Written for a literate and broad reading public, this work discusses numerous inventions that transformed the United States after the Civil War. Boorstin deals with developments in communication but provides a much broad context of inventions during the Industrial Revolution. technology nationalism photography advertising, and public relations propaganda public relations communication revolution archives communication revolution community democracy sound recording libraries libraries, and information storage nationalism and communication photography and visual communication general studies telephones telegraph advertising motion pictures duplicating technologies sound recording phonograph technology and society democracy and media graphics revolution information storage Boorstin, Daniel J. The Americans: The Democratic Experience 11720 Boorstin, Daniel J. Democracy and Its Discontents: Reflections on Everyday America New York Random House
1971, 1974
This 124-page book is not one of Boorstin’s best works, yet does offer interesting observations. It is a revision of the William W. Cook Lectures on American Institutions which Boorstin delivered at the University of Michigan, Ann Arbor, in April, 1972.
“Perhaps the most important single change in the human consciousness in the last century, and especially in the American consciousness,” he argues, “has been the multiplying of the means and forms of what was call ‘communications.’...”
Boorstin’s distinguishes “information” from “knowledge.” Information’s “most prominent and distinctive characteristic is its randomness. Knowledge is a coherent structure, where each part is related to every other, and where discovery consists of finding these relationships. (William James defined a genius as a person especially adept in this ability)....”
Boorstin’s treatment of photography and repeatable experience brings to mind William Ivin’s treatise on the significance of prints and photographs. Boorstin also discusses the role of the phonograph in repeatable experience, and argues that “the triumphs of American industry have led to the decline of the miraculous.” Photography, the phonograph, motion pictures, instant replay and “done much to remove ... spontaneity.”
Boorstin, a critic of 1960s counterculture, worried about the decline of civility and its effect of democracy. “Democracy thrives on selective communication. And to keep the society democratic, the selection must be made not by some outside political agency, but by the self-controlled citizen.”
Boorstin advocated better programming to make television “less a solvent and more a cement in our American community.” photography motion pictures communication revolution community democracy sound recording general studies democracy and media communication revolution information v. knowledge photography and visual communication phonograph instant replay television counterculture critics television television, and instant replay motion pictures and popular culture television, and democracy Boorstin, Daniel J. Democracy and Its Discontents: Reflections on Everyday America 9190 Boorstin, Daniel J. The Image: A Guide to Pseudo-Events in America, 25th Anniversary Edition New York Atheneum
1961, 1982, 1987
1961 ; media effects See also: media convergence See also: mass media Boorstin’s book is an exploration of the culture of the manufactured and artificial event, the pseudo-event in the United States. Boorstin argues that as the demand for information has grown, journalists have been forced to create news that would not have ordinarily been reported. In order to fill the multiple daily editions and hourly news broadcasts, journalists have resorted to new techniques, such as the interview, and new perspectives, such as the news analysis and summary. The trend is apparent in all parts of our culture, as people become more interested in image than reality, and in celebrity over character.
Boorstin traces the history of what he calls the Graphic Revolution. This is the rise of mass print culture, made possible by technological advances in papermaking and printing. It also includes new methods of image reproduction, such as photography and high-quality reproduction, which have filled our print media. As this has happened, Americans, in Boorstin’s view, have become enamored of the image, and now have lost touch with reality. All aspects of society have been affected by this change. In the political arena, spin and public relations have replaced truth and character. Americans now vote for an image rather than a candidate. The same can be said of travel and first-hand experience. A culture that is focused on the image wants travel that is exciting and exotic, but also convenient, inexpensive, and most importantly, conforming to the preconceived idea of the place visited. Boorstin also discusses the decline of literature and serious art in a world where complexity, thoughtfulness and originality are marginalized.
Advertising is the clearest example of this kind of social shift. The advertiser purposely creates the pseudo-event, the public relations image that will focus attention on the product or service out of nowhere. Brand recognition, corporate logos and the like are all artificial, pseudo-events created to shape opinion and reinforce passive conformity rather than critical thinking. Boorstin is highly critical of this shift, and the overall culture that has developed.
This 25th anniversary edition was reprinted in 1987 with little revision. In his introduction, Boorstin explains that the same forces are at work and that even the same examples and illustrations are adequate for his discussion. The book is interesting, though one-sided. Boorstin offers little analysis of the social or economic forces that drive this change, or at the more specific effect it has on public opinion, voting, foreign policy debate, economic policy or consumption decisions.
--Rob Rabe celebrity photography advertising, and public relations propaganda public relations propaganda advertising communication revolution journalism communication revolution community democracy news and journalism values public relations news media general studies Rabe, Rob graphics revolution photography and visual communication motion pictures duplicating technologies sound recording television democracy and media critics advertising pseudoevents celebrity culture values, and media news, and pseudoevents media literacy reproduction revolution news, and public relations news, and entertainment news, and advertising advertising public relations Boorstin, Daniel J. The Image: A Guide to Pseudo-Events in America, 25th Anniversary Edition 110 Boorstin, Daniel J. Political Revolutions and Revolutions in Science and Technology America’s Continuing Revolution Washington, D.C.: American Enterprise Institute for Public Policy Research
1975
9 161-80 Irving Kristol, et al. Boorstin delivered this address in October, 1973 as part of the Distinguished Lecture Series on the Bicentennial, sponsored by the American Enterprise Institute. This, the ninth volume in a series, was edited by Irving Kristol, et al.
“A hallmark of the great technological changes is that they tend not to be reversible,” he said.
“What is most significant ... about technology in modern times (the eras of most of the widely advertised ‘revolutions’) is not so much any particular change, but rather the dramatic and newly explosive phenomenon of change itself. And American history, more perhaps than that of any other modern nation, has been marked by changes in the human condition -- by novel political arrangements, novel products, novel forms of manufacturing, distribution, and consumption, novel ways of transporting and communicating. To understand ourselves and our nation, then, we must grasp these processes of change and reflect on our peculiarly American ways of viewing these processes.”
 preservation communication revolution history, and new media community democracy history general studies democracy and media history, idea of change, and America communication revolution critics change American Enterprise Institute Boorstin, Daniel J. Political Revolutions and Revolutions in Science and Technology 2610 Bordwell, David Widescreen Aesthetics and Mise en Scene Criticism Velvet Light Trap
Summer 1985
21 18-25 See filed under Velvet Light Trap. Bordwell writes: "An adequate theoretical account of widescreen filmmaking does not yet exist, but the most important step toward it was taken by a tradition that is usually considered 'Bazinian.' The Cahiers du cinéma critics of the 1950s and early 1960s and the Movie critics of the 1960s have left us a rich legacy of ideas about the aesthetics of the wide screen. It is worthwhile to glance back at this 'mise en scene' criticism (as I shall call it) in order to assess its theoretical premises and conclusions -- to ask, even, to what extent it is accurately called 'Bazinian.'" widescreen theory seeing at a distance postmodernism modernism motion pictures motion pictures and popular culture motion pictures, and widescreen widescreen, and motion pictures theory, and motion pictures motion pictures, and theory theory, and widescreen cinema critics new way of seeing Bordwell, David Widescreen Aesthetics and Mise en Scene Criticism 9540 Bordwell, David and Kristin Thompson Technological Change and Classical Film Style Balio, Tino Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 New York Charles Scribner's Sons
1993
109-41 This chapter appears in Volume 5 of Scribner's History of the American Cinema, Charles Harpole, editor. Much of the material for this chapter comes from trade publications. A more extended discussion of the chapter's theme is found in David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia University Press, 1985), chapters 19-23, and 27-29. motion pictures motion pictures motion pictures, and technology motion pictures, and classical style Hollywood Hollywood, and classical system motion pictures, and new technology Bordwell, David and Kristin Thompson Technological Change and Classical Film Style 4840 Bordwell, David Janet Staiger and Kristin Thompson The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 New York Columbia University Press
1985
This work has two sections that deal with the technology of cinema. Part Four, "Film style and technology to 1930," have the following essays: David Bordwell and Janet Staiger, "Technology, style and mode of production"; Kristin Thompson, "Initial standardization of the basic technology"; Kristin Thompson, "Major technological changes of the 1920s"; David Bordwell, "The Mazda tests of 1928"; and David Bordwell, "The introduction of sound."
Part Six, "Film style and technology, 1930-60," is written by Bordwell and has chapters entitled: "Deep-focus cinematography," "Technicolor," and "Widescreen processes and stereophonic sound."
This work also has a useful "Select Bibliography."
--SV

 This work takes the position that technological innovation in the movies was strictly governed, and hence restrained to a degree, by the requirement to conform to the classical style of film making and narrative exposition, and to traditional modes of production. Hollywood is presented here as an essentially conservative industry, in which the vested heavyweights systematically grind down the competition. On this reading, technology does not shape the idea content of the movies, but is enlisted to help elaborate the preexisting conventions. The book uses both secondary and primary sources.
--Gordon Jackson photography widescreen sound recording motion pictures photography and visual communication motion pictures, and technology (to 1960) widescreen, and motion pictures sound recording, and stereophonic sound color, and motion pictures Technicolor cameras, and motion pictures sound recording, and motion pictures Thompson, Kristin Staiger, Janet Bordwell, David bibliographies, and motion picture styles bibliographies, and motion picture technology cameras color Hollywood Hollywood, and classical system motion pictures, and technology Jackson, Gordon bibliographies Bordwell, David Janet Staiger and Kristin Thompson The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 2010 Borst, Arno English translation The Ordering of Time: From the Ancient Computus to the Modern Computer Chicago Verlag Klaus Wegenbach; University of Chicago Press
1990; 1993
In this 132-page book, Borst argues that “the prevailing notions of time and numbers were little altered even by the invention of the mechanical clock, whose revolutionary influence tends to be overrated by modern scholars.”
“The eighteenth century saw the beginning of changes in the European concept of time. These were too uneven, too slow in forming, to be described as part of a revolution, but they finally brought the 1,400-year-old history of the computus to an end....”
“...What is new about the modern age is not the uniqueness of events or the changeability of structures. Each generation has always justifiably felt that what happened to them and was expected of them in their lifetime was without precedent. In the modern age, it is only the acceleration of historical change, far beyond human comprehension, which has increased. Changes no longer occur gradually, between generations and regions, but within a few years and throughout the world. It is no longer just the scholars in their studies who feel the piercing wind of change, but people on the street as well. Most of these upheavals have considerably prolonged and substantially enriched human life; if its very existence is to be ensured, permanent innovations will be needed in the future, too.” computers time and timekeeping time preservation communication revolution history, and new media computers timekeeping, and clocks non-USA history history timekeeping time clocks, mechanical communication revolution history, break with computers and the Internet computers, and time time, and computers change, acceleration of time, and European conception of clocks change Europe Borst, Arno English translation The Ordering of Time: From the Ancient Computus to the Modern Computer 120 Boulding, Kenneth E. The Meaning of the Twentieth CenturyThe Great Transition New York Harper & Row
1964
This book is Volume 34 in the series World Perspectives. The thesis of this series, according to editor Ruth Nanda Anshen, is that “man is in the process of developing a new consciousness which, in spite of his apparent spiritual and moral captivity, can eventually lift the human race above and beyond fear, ignorance, and isolation which beset it today.”
Boulding, an economist and leader in the area of conflict resolution, said that “the twentieth century marks the middle period of a great transition in the state of the human race. It may properly be called the second great transition in the history of mankind.” That first transition “was that from precivilized to civilized society which began to take place about five (or ten) thousand years ago.” That first transition was nearing its end and humans were now making the “transition from civilized to post-civilized society.”
On indicator of the magnitude of change, Boulding believed in 1964, was that for many kinds of activities, “the date that divides human history into two equal parts is well within living memory.” For example, an equal number of chemical publication appeared between 1950 and 1964, as appeared before 1950. People extracted as much from mines after 1910 as they did in all the years before that date. About 90 percent of all the scientists who ever lived were alive in 1964. While mankind’s destructive powers had become unprecedented, so too had its recuperative abilities. The rate of change in society had been accelerated, Boulding believed. He also thought (in 1964), that “we are now on the edge of a biological revolution which may have results for mankind just as dramatic as the nuclear revolution of a generation ago.” preservation communication revolution history, and new media communication revolution, and second industrial revolution history history general studies history, break with change, and America biotechnology change second industrial revolution artificial intelligence and biotechnology communication revolution Boulding, Kenneth E. The Meaning of the Twentieth CenturyThe Great Transition 6600 Bowen, Edward G. Thomas Alva Edison’s Early Motion Picture Experiments Raymond Fielding, ed. A Technological History of Motion Pictures and Television Berkeley University of California Press
1967
90-96 This article originally appeared in Journal of the Society of Motion Picture and Television Engineers, 54 (Sept. 1955). motion pictures motion pictures motion pictures, and origins Edison, Thomas Edison, Thomas, and motion pictures Bowen, Edward G. Thomas Alva Edison’s Early Motion Picture Experiments 40170 Bowers, Q. David Souvenir Postcards and the Development of the Star System, 1912-1914 Film History
1989
3 1 39-45 This article begins by saying that as late as 1911, the identities of moving picture actors were either kept secret or considered to be relatively unimportant. As the "star system" began to emerge, however, identities became more important and were publicized in such publications as the Moving Picture World, Moving Picture News,Motography, and other trade journals. Souvenir postcards were also used to publicize actors and actresses. The cards were often given away free as a means of advertising and enticing patrons into the theater. Bowers notes that few of these postcards were apparently used to send messages through the postal system. Rather "the vast majority were kept as sourvenirs." (40) This article's final pages (41-45) are illustrations of these cards and the personalities they publicized. journalism illustrations history celebrity photography motion pictures history and new media motion pictures, and history history, and motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures presidents and new media photography and visual communication personality, and motion pictures motion pictures, and personality celebrity culture actors acting magazines photography photography and visual communication motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines fan magazines magazines, fan motion pictures, and cameras motion pictures, and acting acting, and cameras acting, and motion pictures motion pictures, and pantomime motion pictures, and movie stars movie stars movie stars, and cameras movie stars, and acting movie stars, and facial expression personality, and magnification of acting, and facial expression sexuality motion pictures, and sexuality sexuality, and motion pictures photography, and sexuality sexuality, and photography motion pictures, and stars motion pictures, and stars (origins) illustrations newspapers, and illustrations women, and motion pictures motion pictures, and women women personality movie stars, and postcards motion pictures, and postcards advertising and public relations advertising, and postcards celebrity culture, and postcards illustrations illustrations, and movie postcards advertising Bowers, Q. David Souvenir Postcards and the Development of the Star System, 1912-1914 34230 Bowie, Nolan A. Voting, Campaigns, and Elections in the Future: Looking Back from 2008 Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
143-67 This essay was written four years prior to the 2000 U. S. presidential election. Bowie speculates about the consequences new media's impact on politics and culture. He argues that the 2004 election was (would be) a crisis for democracy and lead to fundamental changes in pinion . The public would call for major changes in the political system.
The volume in which Bowie's chapter appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality Internet community future democracy, and future future, and democracy future and science fiction presidents and new media democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors capitalism capitalism, and digital media digital media, and capitalism Internet, and capitalism capitalism, and Internet Bowie, Nolan A. Voting, Campaigns, and Elections in the Future: Looking Back from 2008 2730 Bowker, Geoffrey C. Archival Technology in the Historical Sciences, 1800-1997 History and Technology
1998
15 1-2 69-87 The author writes: "Taking examples from the science of geology in the 1830s and floristics over the past two decades, it is argued that the technology of infomation storage and retrieval dominant at the time serves as both means of archiving scientific results and as metaphor for the interpretation of the earth as an archival system. It is maintained that the interplay between means and metaphor provides a site for the importation and exploration of techniques from communities of scientific and work practice both in the ordering of scientific information and in its interpretation. It is further tentatively argued that when the technology infrastructural to information storage changes, this leads to radical discontinuities in scientific models." computers preservation labor archives history, and new media computers history office office, and new media office computers and the Internet infrastructure, and computers archives, and new technology computers, and history history, and computers archives, and computers archives, and new media archives, and infrastructure infrastructure, and archives information storage information storage, and new media history, break with archives, and historical interpretation infrastructure history archives Bowker, Geoffrey C. Archival Technology in the Historical Sciences, 1800-1997 15760 Bowling, W. H. The Living Voice with the Living Picture Moving Picture World
June 25, 1910
6 25 1095 In this article, the Rev. W. H. Bowling talks about moving pictures combined with the phonograph to produce talking films. motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures phonograph phonograph, and motion pictures motion pictures, and phonograph Bowling, W. H. The Living Voice with the Living Picture 27210 Bowman, Lisa M. City May Ask Theaters Not to Screen NC-17 Films Los Angeles Times
Sept. 30, 1995
B (Metro) 1B This article concerns efforts in the Los Angeles area to persuade theaters not to show NC-17 rated movies such as Showgirls (1995). Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality Classification and Rating Administration (CARA) sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising motion pictures media effects media violence lesbianism law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism public relations public relations, and motion pictures public relations, and Showgirls motion pictures, and sex motion pictures, and lesbianism motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 Eszterhas, Joe Verhoeven, Paul advertising Bowman, Lisa M. City May Ask Theaters Not to Screen NC-17 Films 9520 Bowser, Eileen The Transformation of Cinema, 1907-1915 New York Charles Scribner's Sons
1990
This, the second volume in Scribner's History of theAmerican Cinema series (Charles Harpole, editor), "is an effort to understand, through a better knowledge of how films were seen and experienced at the time they first appeared to their audiences and of the surrounding circumstances of their production, distribution, and exhibition, and the prevalent cultural and social ideas at the time, just how it was that films and filmmaking were transformed in this period. Film forms changed as drastically in the seven years covered by this volume as at any point in motion-picture history. At the same time, the film business itself changed from a hand-crafted amusement enterprise and sideshow to a gigantic entertainment industry and the first mass-communication medium. One of the goals of this book is to demonstrate that these two phenomena were in certain ways related."
The work's fifteen chapters are devoted to such topics as: "The Nickelodeon"; "The Recruiting Station of Vice"; "Acting: The Camera's Closer View"; "Movie Palaces"; "Detours on the Way to Hollywood"; "The Genre Film"; "The Feature Film"; and "Scene Dissection, Spectacle, Film as Art." Edison, Thomas audiences photography women, and new media seeing at a distance modernism materials cinema motion pictures celluloid cinematography law law censorship and ratings women theaters regulation motion pictures motion pictures, and theaters film motion pictures motion pictures, and silent movies motion pictures, and theaters (silent) audiences, and motion pictures censorship, and motion pictures regulation, and motion pictures cinematographers film stock motion pictures, and lighting theaters, and motion pictures women, and motion pictures new way of seeing cameras, and motion pictures African Americans, and motion pictures Edison Film Manufacturing Company Griffith, D. W. color,and Kinemacolor color, and motion pictures nickelodeons motion pictures, and music photography and visual communication motion pictures, and photography audiences cameras censorship color motion pictures, and race theaters motion pictures, and theaters cameras, and effect on acting, materials African Americans Bowser, Eileen The Transformation of Cinema, 1907-1915 37440 Boyer, Jacques The Belin Process of Telephotography Scientific American
Dec. 21, 1907
97 25 456-57 (APS Online) This article describes a process of transmitting images that differs from the one developed by professor Arthur Korn in Germany. "With the apparatus of Prof. Korn, of Munich, described in these columns, only photographs of faces can ben transmitted to a distance, since pictures of busts and landscapes give poor results, owing to insufficient distinctness. This problem, however, has been solved in a much more perfect manner by a Frenchman, M. Edouard Bélin, as has been sown by the experiments performed by him in the laboratory of the Société Française de Photographie. The transmitting apparatus of this ingenious inventor is wholly mechanical in all its details. A carbon print of the photograph to be telegraphed is placed on a revolving cylinder, while a stylus traveling over this print imparts to the line conductor by means of a lever current differences corresponding with the differences of relief, through a rheostat." post office journalism future magazines, and photography facsimile magazines photography electricity theaters electricity, and theaters electricity, and photography photography, and electricity photography and visual communication motion pictures electricity, and motion pictures motion pictures, and electricity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines television telegraph photography and visual communication telegraph, and photography photography, and telegraph future and science fiction telephotography Belin, M. Edouard, and telephotography seeing at a distance modernity modernity, and photography photography, and modernity non-USA Germany Germany, and photography by wire Germany, and telegraph telegraph, and Germany facsimile, and telegraph telegraph, and facsimile duplicating technologies postal service postal service, and facsimile facsimile, and postal service postal service, and telegraph telegraph, and postal service materials materials, and selenium Great Britain Great Britain, and photography by wire Great Britain, and telegraph Germany, and facsimile Great Britain, and facsimile France France, and photography by wire France, and telegraph France, and facsimile France, and facsimile Belin process, and telephotographyy Belin process, and telegraph Belin, M. Edouard, and telephotographyy American Boyer, Jacques The Belin Process of Telephotography 30550 Boyer, Paul S. Purity in Print: Book Censorship in America from the Gilded Age to the Computer Age 2nd Madison University of Wisconsin Press
[1968], 2002
This book is the second edition of Boyer's well-known and important examination of efforts to censor works that often contained modern themes. Many of those themes were of a sexual nature. Boyer comes down strongly on the side of those who believed that books and other written communications should have greater latitude to deal with the complexities of human existence. The final two chapters in this edition cover develops from the 1960s to the end of the century. Boyer deals with such topics as conservative reaction to the President 1970s Commission on Obscenity and Pornography, the Meese Commission (1985-86), and attempts to censor material in libraries. presidents and new media computers cultural change , censorship, and print print, and censorship Victorianism cultural change, late 19th cultural change, early 20th modernism censorship First Amendment censorship, and First Amendment First Amendment, and books books, periodicals, newspapers critics President Commission on Obscenity and Pornography (1970) Meese Commission computers and the Internet computers, and censorship censorship and ratings freedom censorship, and freedom freedom, and censorship values values, and censorship censorship, and values religion religion, and censorship censorship, and religion information storage censorship, and information storage information storage, and censorship pornography print computers Boyer, Paul S. Purity in Print: Book Censorship in America from the Gilded Age to the Computer Age 12970 Boyer, Paul S. Purity in Print: The Vice Society Movement and Book Censorship in America New York Charles Scribner's Sons
1968
This well-known and important book deals with efforts to censor works that often contained modern themes. Many of those themes were of a sexual nature. Boyer comes down strongly on the side of those who believed that books and other written communications should have greater latitude to deal with the complexities of human existence. cultural change values print print culture modernity cyberspace culture freedom law censorship and ratings censorship, and print print, and censorship books books, and censorship Victorianism cultural change, late 19th cultural change, early 20th modernism censorship First Amendment censorship, and First Amendment First Amendment, and books books, periodicals, newspapers censorship, and books critics values, and books values Boyer, Paul S. Purity in Print: The Vice Society Movement and Book Censorship in America 2500 Boyer, Richard O. Color Nut Reader's Digest
Jan., 1940
36 213 102-05 See filed under Reader's Digest. This is a condensed version of an article that appeared in The New Yorker. It considers the theories of Raymond G. Twyeffort about color and clothes. Twyeffort was a past president of the National Association of Merchant Tailors of America. "The wearing of red, Twyefflrt claims, actually makes a man strong and dynamic, just as yellow makes him gay, green makes him amorous and blue soothes him. Dress American businessmen in scarlet, he says, and business will boom...." color color, and clothing Boyer, Richard O. Color Nut 30110 [Bradbury, Ray Ray Bradbury on 'Film in the Space Age' American Cinematographer
Jan., 1967
48 34-35, 65-70 In this speech to the American Society of Cinematographers, Bradbury discusses his love of movies and comments on the difference between watching a film on a large screen in a theater and watching it on television. The "trouble is," he said, "when you see it in the theatre it's one thing -- when you see it on the TV screen it's another, because when you see it on TV you hold King Kong in your lap. When you're in the theatre, King Kong hold you in his lap. A very important difference, isn't it." (67) He goes on to celebrate the exploration of space. "I want to sell people on the inevitability and the beauty and the distinction of the Space Age," he said, in part because it was "a religious movement whereby man relates himself to the Universe by which God -- the moving hand of God -- relates Himself to Himself." (69-70) "We're going to be on the Moon -- and then, right on off to Mars and from Mars to Alpha Centauri in 100 to 200 years." (69) cinematography future and science fiction motion pictures motion pictures, and space age motion pictures, and science fiction motion pictures, and science Bradbury, Ray Bradbury, Ray, and motion pictures motion pictures, and Ray Bradbury future [Bradbury, Ray Ray Bradbury on 'Film in the Space Age' 36550 Brady, Thomas Hollywood Wire: Two Studios in Conflict With Legion of Decency Screen Writers Elect New York Times
Nov. 20, 1949
X5 This article indicates that the movie Beyond the Forest, starring Bette Davis, was playing in several first-run theaters even though the Roman Catholic Legion of Decency had condemned the film. The movie was based on Stuart Engstrand's novel by the same title. One of the controversial issues from the movie censors' point of view was the treatment of abortion in this film. self-regulation motion pictures, and Production Code Administration (PCA) censorship and ratings values abortion motion pictures and popular culture motion pictures motion pictures, and PCA motion pictures, and abortion motion pictures, and novels motion pictures, and abortion novels novels, and motion pictures Davis, Bette Breen, Joseph, and abortion abortion, and Joseph Breen Johnston, Eric, and abortion abortion, and Eric Johnston abortion, and Production Code Administration Production Code, and abortion Legion of Decency Legion of Decency, and abortion Breen, Joseph Johnston, Eric Christianity Catholic Church PCA, and abortion Production Code Production Code (motion pictures) PCA Brady, Thomas Hollywood Wire: Two Studios in Conflict With Legion of Decency Screen Writers Elect 34920 Brady, Thomas F. Hollywood Checks: 'Born Yesterday' Controversy Sheds Light On Another Delicate Censorship Issue New York Times
Dec. 10, 1950
X9 This article notes that Joseph Breen, head of the Production Code Administration in Hollywood, regularly intervened in movies thought to have an anti-capitalist tone. Specific films such as "Born Yesterday" and "The Lawless" are discussed. self-regulation nationalism sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality motion pictures and popular culture motion pictures Production Code Production Code, and capitalism motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings Production Code, and violence motion pictures, and foreign policy nationalism and communication motion pictures, and nationalism capitalism motion pictures, and capitalism Breen, Joseph, and capitalism Production Code, and capitalism Breen, Joseph, and communism PCA, and communism Breen, Joseph PCA Production Code Administration (PCA) Brady, Thomas F. Hollywood Checks: 'Born Yesterday' Controversy Sheds Light On Another Delicate Censorship Issue 3440 Brady, Tim and Sonia Liff Job Losses Now, Maybe Some Later Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
381-89 See also: office New information technology may eventually create new jobs but it will be a while before the losses in traditional industries are offset by gains. This is from a British-backed study, Monitoring New Technology and Employment (Sheffield, Eng.: Manpower Services Commission, 1983). computers labor computers and the Internet automation, and Great Britain labor, and automation automation Great Britain labor, and new media labor non-USA Brady, Tim and Sonia Liff Job Losses Now, Maybe Some Later 41350 Bragdon, Claude An Art of Light American Architect
June 13, 1917
111 2164 363-68 art advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing billboards posters advertising, and posters posters, and advertising advertising, and electric signs billboards, and advertising color, and billboards color, and music electricity electricity, and electric signs advertising, and architecture color, and electricity electricity, and color lighting electricity, and lighting color, and red color, and blue color, and green advertising Bragdon, Claude An Art of Light 11080 Brand, Stewart The Clock of the Long Now: Time and Responsibility New York Basic Books
1999
Brand poses two questions: "How do we make long-term thinking automatic and common instead of difficult and rare? How do we make the taking of long-term responsibility inevitable?" One device to help us think about these question is the "Clock/Library." Brand places these question into the context of our modern communication revolution. "The pace of Moore's Law has become the pacesetter for human events," he writes. "According to a rule of thumb among engineers, any tenfold quantitative change is a qualitative change, a fundamentally new situation rather than a simple extrapolation. Moore's Law brings such tenfold structural changes every three years or so, thus three revolutions every decade, for five decades straight."
--SV

The Ancient Greeks distinguisged between two different types of time. There was the "kairos" which is the opportunity or the propsitious moment. The other kind is the eternal or ongoing time, which is called chronos. "While the first...offers hope, the second extends a warning. Kairos is the time of cleverness, chronos the time of wisdom. Our dead and unborn reside in the realm of chronos, murmuring opportunistic, kairotic seizures of the day."
The clock/library serves as a point of reference for humans. It is more of a thesis than a thing but the clock also allows people to think long-term. “The main characteristic of the Clock is its linearity. It treats one year absolutely like another, oblivious of Moore’s Law accelerates, national fares, wars, dark ages, or climate changes. In its company there is nothing special about now. While we discount on a sliding scale both the future and the past, the Clock does neither. Far future and near future are the same; distant past and recent past have equal value.”
Richard Benson, dean of Yale Art School says the library of the future is not a library but is a museum. “Embed the Clock, as a centerpiece, in a new museum of the history of technology. If technology is to be the future of the living world, then we have to admit that it is at its starting block. We are the Cambrian explosion of technology, and we are at the perfect point in time to gather the fossils as they are being made and discarded...”
--Amanda Novak computers Moore, Gordon time and timekeeping time preservation preservation history, and new media preservation communication revolution Internet archives communication revolution future and science fiction digitization timekeeping, and clocks history geography libraries libraries, and information storage information processing Information Age history computers and the Internet information storage libraries, electronic electronic preservation information revolution clocks timekeeping time space (spatial) digital media Moore's Law future Clock, Millennial history, and Internet history, and computers history, break with change clocks electronic media information storage libraries Internet, and history Internet, and information storage information storage, and Internet Novak, Amanda history, and new media preservation, and new media clock of the long now Brand, Stewart The Clock of the Long Now: Time and Responsibility 11710 Brand, Stewart The Media Lab inventing the future at MIT New York Viking
1987
This work is based on 70 hours of interviews, and by reading papers written by people who worked in the Media Lab at MIT. “The rest of the book explores ‘so what?’ ... The structure of communications is so fundamental to a society that when the structure changes, everything is affected.... Each time the means of communications advanced, the ‘world’ metamorphosed.” Brand quoted from Peter Drucker’s Innovation and Entrepreneurship (1985): after World War II the “model of technology” became “the biological process, the events inside an organism. And in an organism, processes are not organized around energy in the physicist’s meaning of the term. They are organized around information.’”
Of interest in this book are Chapter 1, “Demo or Die”; Chapter 2, “New Media 1 -- Receiving”; Chapter 3, “Terminal Garden”; Chapter 5, “The Science of Apparition”; Chapter 8, “The Room Who Will Giggle”; Chapter 11, “The Politics of Broadcast”; Chapter 12, “The World Information Economy”; and Chapter 13, “The Quality of Life.” R & D military communication communication revolution future and science fiction war general studies political economy biotechnology World War II information age communication revolution change, and America future change artificial intelligence and biotechnology research and development political economy global communication Brand, Stewart The Media Lab inventing the future at MIT 36180 Brandt, Richard Statement and Testimony Hearings, Self-Policing of the Movie and Publishing Industry, before the Subcommittee on Postal Operations of the Committee on Post Office and Civil Service, U. S. House of Representatives, Eighty-Sixth Congress, Second Session Feb. 3, 1960 72-90 Brandt was Governor of the Independent Film Importers and Distributors of America. He says that his association imports about 100 to 150 films a year (excluding films in the Chinese and German language without subtitles) and that only five or six get a PCA seal. (89) Motion Picture Association of America (MPAA) censorship self-regulation sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and homosexuality censorship, and homosexuality advertising and public relations Production Code, and advertising code advertising, and motion pictures motion pictures, and advertising White, Gordon, and movie advertising MPAA, and advertising MPAA, and Production Code critics critics, and motion pictures motion pictures, and foreign films motion pictures, and foreign markets audiences motion pictures, and audiences sexuality Production Code, and Appeals Board violence Production Code, and foreign films advertising children Brandt, Richard Statement and Testimony 39860 Branigan, Edward The Articulation of Color in a Filmic System: Deux ou trois choses que je sais d'elle (Two or Three Things I Know About Her) Wide Angle
1976
1 3 20-31 This article begins with the intriguing statement that "Criticism of film to the present day [1976] has largely proceeded as if all films were made in black and white. Few theorists or filmmakers even comment on the use of color in a film much less consider the structural possibilities that color opens for the filmic text. Jean-Luc Godard through his work is a stunning exception. Scanning his color films one immediately senses an unparalleled rigor in the organization of color. Overall, one might say, the color appears 'artificial' or stylized with respect to the more familiar 'natural' or postcard color of traditional films. But this generalization is unsatisfactory." (20) Branigan then proceeds to analyze the Godard's color strategies in his film Deux ou trois chose que je sais d'elle [Two or Three Things I Know About Her] (1966-67).
Branigan says that "Almost all color theorists -- even those holding expressionist views of the nature of art -- maintain that color has neither an absolute perceptual base, nor an absolute meaning (emotional or intellectual): color depends on relationships and comparisons, and in this regard its closest analogue may be music." (21)
For Sergei Eisenstein, "the reassembly of color in a text is an explicitly ideological enterprise which reveals, in one light or another, the dominant ideology. There arises then the possibility that a textual system of color -- as a 'discourse' involving repetition, variation, permutation -- may actually propose new ways of reading color and color organizations, and so may recast cultural formulations," Branigan says. (21)
Branigan analyzes Godard's use of color "in terms of four major tendencies: color tends to appear as a certain of solid color, in a regular shape, with an arbitrary relationship to the surface of its object, and in primary opposition to other colors. It is important to note that not every color in Deux ou trois choses fits these specifications. This demonstrates that pertinent oppositions, when they appear, become structurally significant in terms of Godard's overall color system. In order to throw that color system into relief, I will employ various traditional color 'rules' (conventions, codes) as a background set." (21) Here he draws on the discussion about "traditional rules of color harmony" in Elizabeth Burris-Meyer's Color and Design in the Decorative Arts (1935) and Fabor Birren's Principles of Color (1969) (p. 31, n. 7) Branigan hopes that his approach "will provide a point of entry to a system of representation and ideology radically opposed to that of classic Hollywood film." (21)
Branigan concludes: "The colors of Deux ou trois choses cannot be read in terms of character psychology, the exigencies of drama, or of verisimilitude. Instead, color -- divorced from its natural (probable) object through such strategies as the above -- becomes an element of equal significance with the other elements of the text. The consistent use of color strategies means the construction of forms -- positions and differences -- which are the very foundation of the articulation of color in a pictorial system. Deux ou trois choses is one of the few color films which, to borrow Eisenstein's phrase, is in color and not merely colored." (30) media effects emotion motion pictures color motion pictures, and color color, and motion pictures France non-USA France, and motion pictures non-USA, and motion pictures motion pictures, and France color, and France motion pictures, and non-USA Godard, Jean-Luc, and color films motion pictures, and Jean-Luc Godard color, and Sergei Eisenstein Eisenstein, Sergei, and color values color, and values values, and color color, and emotion emotion, and color motion pictures, and ideology motion pictures, and classic Hollywood films color, and classic Hollywood films color, and ideology Branigan, Edward The Articulation of Color in a Filmic System: Deux ou trois choses que je sais d'elle (Two or Three Things I Know About Her) 11170 Branigan, Edward Color and Cinema: Problems in the Writing of History Bill Nichols, ed. Movies and Methods: Volume II Berkeley University of California Press
1985
2 121-43 Branigan examines how four scholars have dealt with the historical question of why color film stock, which has been available since the early 1900s, but has only been in use widely since the late 1930s, was introduced into Hollywood moviemaking. In each case, he points out, the conclusions reached by the scholar conducting the study have been largely determined by the way in which the question has been asked.
--Matt Lavine
This article was reprinted from Film Reader 4 (Evanston, IL: Northwestern University Press, 1979), 16-34. cinema motion pictures celluloid motion pictures Lavine, Matt color color, and motion pictures film, and color film materials Branigan, Edward Color and Cinema: Problems in the Writing of History 41590 Braudy, Leo The Frenzy of Renown: Fame & Its History New York Oxford University Press
1986
Braudy comments on the way photography changed the nature of fame. “The emotional intimacy that the photograph helped foster between the famous and their audience was also reflected in the movement away from former standards of how prominence was conveyed. … But nothing in artistic portraiture really anticipated the almost total break with the traditional look of a European public face expressed in Brady’s photographs of Lincoln. This was a look unadorned by the motifs of fame and glory that even the 494/495 French Revolution had only transformed instead of obliterating (which Napoleon III was spending a good deal of energy from 1852 on trying to revive)….”(494-95). [my emphasis] fame celebrity actors acting celebrity culture fame personality photography, and new art form photography, and psychology photography, and celebrity celebrity, and motion pictures fame, and photography photography, and fame photography, and stars audiences media effects photography, and audiences audiences, and photography media effects, and audiences media effects, and photography photography, and media effects photography, and modernity modernity, and photography photography and modernity new way of seeing fame, and new media modernity photography Braudy, Leo The Frenzy of Renown: Fame & Its History 8810 Braun, Enest and Stuart MacDonald Revolution in Miniature: The history and impact of semiconductor electronics Cambridge, Eng. Cambridge University Press
1978
The authors write that “The main impetus for the development of solid state electronics came from three directions: the invention and development of wireless telegraphy and all that it led to in radio and television, the success of valve electronics, which widened the scope of electronics far beyond the original wireless telegraphy applications, and finally pure research in solid state physics which had, from time to time, almost by accident, brought about various solid state devices....”
This is an interesting work on the technical developments leading up to the discovery of the transistor and the industry that grew up in its aftermath. The authors discuss the invention of the transistor and the roles of Bardeen, Brattain, and Shockley. Their interactions often were less than harmonious. The final chapter speculates on the future (as it then appeared to the authors who wrote in 1978). Much of their speculation, of course, has come to pass. R & D computers microprocessing transistors, and integrated circuits military communication communication revolution second industrial revolution communication revolution telegraph solid state microelectronics computers and the Internet transistors miniaturization microprocessors microelectronics revolution Shockley, William Bardeen, John Brattain, Walter integrated circuits radio television solid state electronics electronics, and solid state telegraph, wireless electronic media telegraph, and wireless electronics, valve research and development materials Braun, Enest and Stuart MacDonald Revolution in Miniature: The history and impact of semiconductor electronics 2800 Braun, Ernest From Transistor to Microprocessor Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
72-82 An account of development from the invention of the transistor in late 1947 to the microprocessor in 1971. computers microprocessing transistors, and integrated circuits communication revolution second industrial revolution communication revolution microprocessors microelectronics computers and the Internet microprocessors transistors integrated circuits microelectronics revolution microprocessors, and history of materials Braun, Ernest From Transistor to Microprocessor 28850 Braun, Marta Picturing Time: The Work of Etienne-Jules Marey (1830-1904) Chicago and London University of Chicago Press
1992
See also: office This biography examines the life of Etienne-Jules Marey, who made contributions to photography, cinematography, aviation, and such other fields as cardiology, physiological instrumentation, and the science of labor. Braun places Marey in the context of nineteenth century positivism and scientific thought. Although Marey’s work is often associated with that of Eadweard Muybridge, the author that there an “enormous difference between Marey’s photographic study of locomotion and the one ... Muybridge carried out in Philadelphia at roughly the same time.” Like Muybridge, Marey’s work was influential in the field of art.
This 450-page book is generously illustrated with many of Marey’s photographs. The work also has a bibliography of Marey’s works, arranged by year (1857-1904). Muybridge, Edward Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories photography photography and visual communication motion pictures and popular culture cinematography cameras France France, and photography photography, and France Muybridge, Eadweard Muybridge, Eadweard, and Etienne-Jules Marey bibliographies, and Etienne-Jules Marey bibliographies, and photography aeronautics and space communication aeronautics, and Etienne-Jules Marey Bergson, Henri chronophotography Demeny, Georges Duchamp, Marcel Edison, Thomas motion pictures, and Etienne-Jules Marey celluloid motion pictures, and celluloid time photography, and time time, and photography biography + inventors inventions Lumiere Cinematographe photography, and Etienne-Jules Marey Tatin, Victor labor labor, and photography bibliographies materials motion pictures non-USA time and timekeeping aeronautics Braun, Marta Picturing Time: The Work of Etienne-Jules Marey (1830-1904) 28560 Braxton, Greg 200 Christians Protest Universal's Depiction of Jesus Los Angeles Times
July 17, 1988
2 (Metro) 4 This article reports that 200 Christians protested the scheduled opening of Martin Scorcese's film The Last Temptation of Christ (1988). The protest occurred outside Universal Studios. Motion Picture Association of America (MPAA) motion pictures, and religion Classification and Rating Administration classification MPAA self-regulation corporations motion pictures, and sexuality sexuality motion pictures, and sexuality corporations Classification and Rating Administration (CARA) advertising, and public relations universities censorship and ratings rating system (U.S.) rating system (U. S.) propaganda advertising values sexuality motion pictures First Amendment freedom values religion law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA boycotts motion pictures and popular culture motion pictures, and religion religion religion, and motion pictures movies, and religion nudity motion pictures, and nudity motion pictures, and nudity CARA, and religion CARA, and nudity Kazantzakis, Nikos Schrader, Paul Cocks, Jay Universal Pictures Wasserman, Lew universities, and religion motion pictures, and boycotts CARA, and rating controversies rating system (U. S.), and controversies Wall, James Robertson, Pat Dobson, James First Amendment, and motion pictures motion pictures, and First Amendment public relations, and motion pictures motion pictures, and public relations public relations Valenti, Jack Valenti, Jack, and religion Valenti, Jack, and First Amendment First Amendment, and Jack Valenti Heffner, Richard, and religion censorship censorship, and motion pictures motion pictures, and censorship motion pictures, and boycotts boycotts, and motion pictures Bright, Bill Campus Crusade for Christ Scorsese, Martin Blockbuster Video Valenti, Jack, and censorship nudity, and religion religion, and nudity Dafoe, Willem Hershey, Barbara Bowie, David Southern Baptist Christian Life Commission critics values Heffner, Richard Braxton, Greg 200 Christians Protest Universal's Depiction of Jesus 25140 Braxton, Greg Morning Report: TV & Video Los Angeles Times
May 21, 1990
F (Calendar) 2F This brief piece announces that Jack Valenti, president of the Motion Picture Association of America, will appear on television with film critics Roger Ebert and Gene Siskel to discuss whether adult, non-pornographic movies deserve rating other than the industry's X. Valenti defended the present system, although later that year the industry adopted the NC-17 rating. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) NC-17 Ebert, Roger law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA motion pictures and popular culture motion pictures rating system (U. S.), and NC-17 motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Valenti, Jack, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Valenti, Jack, and NC-17 NC-17, and Valenti's opposition Ebert, Roger, and NC-17 Siskel and Ebert Show Valenti, Jack, and Roger Ebert Siskel, Gene, and NC-17 Braxton, Greg Morning Report: TV & Video 15400 [Breen, Joseph I. The Story of the Twenty-Eighth International Eucharistic Congress Held at Chicago, Illinois, United States of America from June 20-24, 1926 Chicago Committee in Charge at Chicago
1927
Joseph Breen prepared the first six chapters of this publication. They suggest that Breen knew a good deal about modern media and its public relations uses. This work is located in the Archdiocese of Chicago Archives and Records Center, Chicago, IL. Breen, Joseph Breen, Joseph, and Catholic Church Breen, Joseph, and public relations motion pictures and popular culture motion pictures motion pictures, and Joseph Breen [Breen, Joseph I. The Story of the Twenty-Eighth International Eucharistic Congress Held at Chicago, Illinois, United States of America from June 20-24, 1926 140 Breitrose, Henry The New Communication Technologies and the New Distribution of Roles The Media Revolution in America and in Western Europe: Volume II in the Paris-Stanford Series Norwood, NJ Ablex Publishing Corporation
1985
68-79 Everett M. Rogers and Francis Balle, eds. Paris-Stanford Series 2 Although written before the appearance of the Internet, this piece describes a system of communication not unlike the Internet. “A basic shift in the locus of power is occurring in society, as the new communication technologies are empowering the audience with an active control over the flows of information. This shift is a Communication Revolution. The old media of mass communication, like television, radio, and print, are means by which a relatively few creative individuals prepare and transmit various kinds of expensive messages to a large audience through a relatively few scarce channels. These old technologies will continue, but are increasingly being supplemented with a set of new communication technologies that center around the semiconductor chip, which provides a communication system with low-cost, high-speed memory. As a result, the new technologies have a higher degree of interactivity, the ability to engage in an ‘conversation’ with a human participant who is using the technology. An example is the newer cable television systems, especially their interactive channels through which individuals can make information requests, go ‘teleshopping’, etc. Such a television of abundance (a) carries the idea of paying for information (which runs counter to the prevailing custom of the past), and (b) raises policy issues concerning privacy.” This is the second volume in the Paris-Stanford Series, edited by Everett M. Rogers and Francis Balle. computers surveillance interactivity values law, and privacy law print communication revolution materials materials community democracy computers computers and the Internet communication revolution, and second industrial revolution values religion general studies Internet communication revolution television radio print culture semiconductors chips, computer interactive media television, and cable privacy teleshopping computer chips second industrial revolution media convergence interactive media television cable television, and cable democracy and media Breitrose, Henry The New Communication Technologies and the New Distribution of Roles 6610 Briggs, Asa The Birth of Broadcasting: The History of Broadcasting in the U. K.: Volume I London Oxford University Press
1961
1 non-USA Great Britain television television, and Great Britain Great Britain, and television broadcasting Great Britain Briggs, Asa The Birth of Broadcasting: The History of Broadcasting in the U. K.: Volume I 6620 Briggs, Asa The Golden Age of Wireless: The History of Broadcasting in the U. K.: Volume II London Oxford University Press
1965
non-USA Great Britain television Great Britain Great Britain, and television television, and Great Britain Briggs, Asa The Golden Age of Wireless: The History of Broadcasting in the U. K.: Volume II 10160 Briggs, Asa The Pleasure Telephone: A Chapter in the Prehistory of the Media Ithiel de Sola Pool, ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
40-65 Briggs notes that many first thought of the telephone as a medium to broadcast entertainment. “Once it became possible to transmit sound along telephone wires in both directions–a very early achievement of 1876 itself–it might have seemed inevitable that the telephone would establish itself mainly as an instrument of person-to-person or organization-to-organization communication rather than broadcast communication. Yet....it continued to be publicized as a device to transmit music and news as much as or more than speech.”
--SV

Briggs uses the phrase pleasure telephone to explore one of its uses as it was disseminated across the globe - for entertainment. To understand this use, we must understand the complexity of communication at the time. Briggs writes: “The newspapers and periodicals that prophesied what the future of communications would be like were themselves a part of the same complex within which electronic communications were changing. ‘We take it that everything which can knit a community together,’ one of the new specialized periodicals put in 1884, ‘and which can cause a rapid interchange of sentiment and ideas, annihilate, isolation, and prejudices of the greatest happiness to the greatest number,’ ... To consider the history of the ‘pleasure telephone,’ therefore, we must first study it in the light of a longer history of communications and then relate it to a cluster of other inventions patented during the last quarter of the nineteenth century."
--Catharine Gartelos entertainment entertainment, home journalism home entertainment news and journalism home, and new media home home, and information technology news information technology telephones news, and telephones telephones, and news broadcasting information technology, and home telephones, and entertainment Gartelos, Catharine Briggs, Asa The Pleasure Telephone: A Chapter in the Prehistory of the Media 22450 Briggs, Kenneth A. Evangelicals Debate Their Role in Battling Secularism New York Times
Jan. 27, 1981
A 12A See also: media See also: violence See also: sexuality This article deals with critics of secular humanism, many of them Christian evangelicals and supporters of Ronald Reagan. In general, they were interested in changing the tone of modern mass media. Many were also against what they considered to be the high level of pornography in mass media entertainment. This article discusses Rev. D. James Kennedy, a pastor of Coral Ridge Presbyterian Church in Fort Lauderdale, FL, who challenged radio and television broadcasters to fight secular humanism which he said was "the established religion of America." Kennedy said much of the American public had been "brainwashed" by secular humanism. conservatives values sexuality motion pictures mass media First Amendment media effects crime freedom values religion law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship First Amendment, and pornography pornography, and First Amendment pornography, and evangelicals evangelicals, and pornography religion, and pornography pornography, and religion critics secular humanism television radio television, and secular humanism radio, and secular humanism television, and values radio, and values Briggs, Kenneth A. Evangelicals Debate Their Role in Battling Secularism 5150 Bright, Charles Submarine TelegraphsTheir History, Construction, and Working London Crosby Lockwood and Son
1898
The author starts this book by saying: “The idea of transmitting thought across the seas by means of the electric fluid -- that wonderful agent [electricity] which reserves fresh surprises for us every day -- dates back to the first years of this century....” Appendix II has interesting material on submarine telephony, and Chapter V, entitled “Recent Developments," has information on types of cable used. Pages 695-702 deal with Marconi’s “Wireless” telegraphy. This work has good maps on the cable system worldwide and many illustrations. illustrations radio References, Statistics, Timelines, Maps geography non-USA telegraph electricity telephones telephones, submarine cable, submarine telegraph, submarine wireless communication global communication cable, maps of telegraph, and maps of Marconi, Guglielmo wireless telegraphy telegraph, electric cable maps illustrations Bright, Charles Submarine TelegraphsTheir History, Construction, and Working 30560 Brigman, William E. Politics and the Pornography Wars Wide Angle
1997
19 3 149-70 "The usual legal analysis divides obscenity into three phases," the author writes. "(1) the period prior to 1957; (2) the Roth Period, 1957-73; and the (3) Miller Period, from 1973 to the present. Although such a conceptualization is valid, it is too narrow to convey the nature of the conflict over pornography in the United States during the past forty years. The Supreme Court provided the overall legal framework, or at least set the out boundaries, but the battle over pornography has been inextricably intertwined with the changes in American society for the past half century. Supreme Court decisions have been the highly visible portion of the iceberg: the real struggle has been at policymaking and enforcement level in all levels of government." Brigman's essay attempts to "go beyond the standard legal framework and include the political factors that have impacted on the laws as written and as interpreted by the courts." (150) Clinton, Bill Roth v. U. S. (1957) Clinton, William Jefferson Bush, George H. W. pornography censorship and ratings sexuality law values religion motion pictures freedom media effects children and media censorship, and pornography pornography, and censorship photography and visual communication values, and pornography Roth case (1957) Miller v. California Meese Commission court cases Jenkins v. Georgia Paris Adult Theatre I v. Slaton Reagan, Ronald Reagan, Ronald, and pornography pornography, and Ronald Reagan Bush, George H. W. Bush, George H. W., and pornography Clinton, William Clinton, William, and pornography obscenity law, and obscenity Supreme Court, U. S., and pornography pornography, and U.S. Supreme Court politics, and pornography pornography, and politics children Clinton Administration photography politics Reagan administration censorship Brigman, William E. Politics and the Pornography Wars 6630 Brinkley, Joel Defining Vision: The Battle for the Future of Television New York Harcourt Brace & Company
1997
future and science fiction community democracy television future democracy and media future, and television Brinkley, Joel Defining Vision: The Battle for the Future of Television 4810 Brittain, James E. ed. Turning Points in American Electrical History New York IEEE Press
1977
This work reproduces seminal articles on a wide range of electrical technologies. Part I covers the Colonial period to 1876. In includes such topics as Benjamin Franklin's experiments, electrochemical batteries and electromagnetism, the telegraph and telephone, and electrical lighting. One selection is an 1858 report in the American Journal of Science reporting on the successful completion of the Atlantic cable.
Part II covers the century from 1877 to 1976. Topics include the professionalization of the electrical profession, electric lights and power systems, and electrical communication systems (which includes telegraphy, telephones, radio, the kinescope and early experiments with television, coaxial cable, radar, transatlantic communications by means of telephones and satellites, and advances in antennas). Also included in Part II are sections on electronics, feedback control and computers. computers information theory labor materials non-USA office office, and new media office networks IEEE electricity computers and the Internet telegraph telephones radar cable, transatlantic telephones, and transatlantic networks, electrical electronic media vacuum tubes antennas satellites satellites, and communication global communication Franklin, Benjamin infrastructure motors batteries, electrochemical electromagnetism television cable, coaxial kinescope Shannon, Claude De Forest, Lee radio radar Institute of Electrical and Electronics Engineers (IEEE) cable cable, Atlantic television, and cable aeronautics and space communication materials batteries Brittain, James E. ed. Turning Points in American Electrical History 27350 Brittan, David Being There: The Promise of Multimedia Communications Technology Review
May/June 1992
95 4 42 This piece covers virtual reality entertainment and media convergence. It discusses innovations in these areas. computers corporations corporations corporations television, and digital motion pictures digitization computers motion pictures and popular culture television multimedia media convergence digital communication motion pictures, and digital media television, and digital media computers and the Internet computers, and media convergence computers, and digital media digital media digital media, and computers AT&T Bell Laboratories virtual reality motion pictures, and vitual reality video games video games, and virtual reality Brittan, David Being There: The Promise of Multimedia Communications 1850 Broadbridge, Seymour Studies in Railway Expansion and the Capital Market in England, 1825-1873 London Frank Cass & Co.
1970
This book is based on the author’s Ph.D. dissertation in economic history completed at the University of London. This work concentrates almost exclusively on the question of railway finance, with a case study on the Lancashire and Yorkshire Railway (main line was completed in 1841). This work is based on primary sources, including traffic receipts and expense reports, gross receipts, data on revenue accounts, and other institutional records. This narrow focus enables the author to show in a detailed manner the flow of capital investment in this period, particularly the tendency in Britain to “over-invest” per mile in comparison with other nations.
--Nicholas Wolf non-USA Wolf, Nicholas transportation Great Britain railroads Great Britain, and railroads railroads, and Great Britain Broadbridge, Seymour Studies in Railway Expansion and the Capital Market in England, 1825-1873 6640 Broddason, Thorbjörn Television in Time: Research Images and Empirical Findings Lund, Sweden Lund University Press
1996
The author summarizes his work in the following manner: “The main theme of this book is the development of television from a position as a newcomer and an outsider in society to its present status as a ubiquitous phenomenon, tightly integrated into the fabric of society. The author maintains that when television became a mass medium during the early post-War era it was variously regarded as a spectacle, as an intruder or even as a menace. Several decades later it had turned into a valued companion, a fixture of our existence, and even an object of worship.
Broddason reviews scholarly literature in an effort "to clarify the development of the image of television." He then "moves on to historical comparisons and concludes with the presentation of empirical results obtained from repeated surveys among young people in Iceland over a period of 23 years. The empirical material is used to test the applicability of basic concepts introduced in the first part of the book. At the same time it is used to throw light on the dynamics in the relationship between television and the rest of society. This is accomplished through an analysis of some survey questions central to the problem of television in society.”
Chapter 2, “The Image of Television: The Development of Three Research Perspectives,” is an informative and thought-provoking discussion of television’s changing image during the latter half of the 20th century. The author notes that the initial reaction to television -- like the reaction to the appearance of virtually all new media since the printing press -- was one of moral panic. This chapter offers a good survey on how researchers and other commentators -- Wilbur Schramm, Marshall McLuhan, Raymond Williams, Paul F. Lazarsfeld, Daniel Boorstin, Joshua Meyrowitz, James Carey, Harold Innis, Karl Erik Rosengren, Neil Postman, and many others -- viewed television’s impact on society. The chapter is interesting on the metaphors (intruder, menace, companion, etc.) that have been used to describe television, and it offers an excellent introduction to theoretical research that has been done on this medium. television, and values law non-USA values Europe television values, and television regulation regulation, and television McLuhan, Marshall Williams, Raymond Schramm, Wilbur Lazarsfeld, Paul Boorstin, Daniel Meyrowitz, Joshua Carey, James Innis, Harold Rosegren, Karl Erik Postman, Neil television, and research on television, and Europe Iceland television, and Iceland censorship and ratings Broddason, Thorbjörn Television in Time: Research Images and Empirical Findings 28010 Brode, Douglas The Films of Steven Spielberg New York Citadel Press
1995
There is some discussion in the work of Spielberg's use of special effects in such films as Poltergeist (1982). motion pictures motion pictures and popular culture Spielberg, Steven special effects motion pictures, and special effects Poltergeist Brode, Douglas The Films of Steven Spielberg 26200 Broderick, Peter Moviemaking in Transition: Digital video cameras and editing equipment are transforming the way movies and made -- and even which movies get made Scientific American
Nov. 2000
283 5 61-63, 66-69 This article discusses the ways in which digital video cameras are changes movie making. This technology has the potential to bring a major transformation in motion pictures. entertainment computers entertainment, home photography projection motion pictures home entertainment Hollywood digital media digital cinema digital movies digital cinema digitization computers 35mm home, and new media home motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies photography and visual communication photography, and digital movies digital technology digial movies, how they work 35mm film 35mm film, and digital movies digital movies, and 35mm film projectors, digital projectors, digital movie computers and the Internet computers, and digital movies digital movies, and computers virtual reality virtual reality, and digital movies digital movies, and virtual reality Hollywood, and digital movies digital movies, and Hollywood media convergence Hollywood, and media convergence media convergence, and digitial movies Broderick, Peter Moviemaking in Transition: Digital video cameras and editing equipment are transforming the way movies and made -- and even which movies get made 25480 Brodie, John NC-17 Threat Highly Rated by Marketers Chicago Sun-Times
Sept. 6, 1994
2 27 This article reports that people who market movie find the NC-17 rating helpful. Richard Rush, the director of Color of Night (1994), says Disney marketing people used the rating controversy to stir controversy. The film featured full-frontal nudity from its star Bruce Willis. "From the beginning this was a kinky picture," Rush said. "It was Disney's plan all along to use the erotic elements to attract an audience." Classification and Rating Administration classification self-regulation corporations sexuality sexuality motion pictures, and sexuality corporations Classification and Rating Administration (CARA) sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising press motion pictures media effects media violence lesbianism Disney law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism public relations public relations, and motion pictures public relations, and Basic Instinct motion pictures, and sex motion pictures, and lesbianism motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising Willis, Bruce motion pictures, and bad press coverage press, and poor movie coverage Color of Night NC-17, and critics Disney, and Color of Night Rush, Richard Brodie, John NC-17 Threat Highly Rated by Marketers 24460 Broeske, Pat H. Outtakes: Missing Link Los Angeles Times
Sept. 18, 1988
Calendar 19 This brief piece covers an eight-page "discussion guide" that Universal Pictures funded that was mailed to religious leaders, teachers, and librarians to counter criticism of Martin Scorcese's The Last Temptation of Christ (1988). Approximately 200,000 copies were mailed by the nonprofit Cultural Information Service. corporations corporations advertising, and public relations Universal Pictures propaganda public relations propaganda advertising motion pictures boycotts motion pictures and popular culture boycotts, and Last Temptation Last Temptation of Christ (1988) public relations Universal Pictures, and advertising Universal Pictures, and public relations public relations, and Last Temptation advertising advertising, and Last Temptation Cultural Information Service, and Universal Pictures Universal Pictures, and Cultural Information Service religion values cultural imperialism Broeske, Pat H. Outtakes: Missing Link 29920 Brolin, Don Mobile Camera Mount Aids in Filming of High-Speed Ski Sequences for 'Caprice' American Cinematographer
Sept., 1966
47 9 630-33 This article discusses the use of light weigh mobile cameras to film skiers going 40 mph in the movie "Caprice." It discusses the Arriflex, Model 11-B, equipped with a 50mm lens and a CinemaScope anamophis lens. It considers the how the camera offers anti-vibration features to make the picture steady. The author says that he used his arms and legs and shock absorbers. He notes that "individual location presented little or no problem." (633) Steadicam location shooting cinematography motion pictures cameras motion pictures, and cameras cameras, and motion pictures cameras, hand-held mobile cameras mobile cameras movie, Caprice Caprice (1966) cinematography location shooting, and motion pictures motion pictures, and location shooting cameras, anti-vibration Steadicam, origins cameras Brolin, Don Mobile Camera Mount Aids in Filming of High-Speed Ski Sequences for 'Caprice' 8710 Bromberg, Joan Lisa The Laser in America, 1950-1970 Cambridge, MA MIT Press
1991
The book grew out of the Laser History Project, started in 1982, at the Laser Institute of America. Four scientific societies encouraged the study: the American Physical Society, the Institute of Electrical and Electronics Engineers’ Quantum Electronics and Applications Society (now the Lasers and Electro - Optics Society), the Laser Institute of America, and the Optical Society of America. Chapter 2 deals with masers, chapter 3 with the laser, with the next two chapters on the acceleration of laser research and the marketplace. Chapter 6 is “Explaining the Laser,” while the final chapter discusses the laser “now and in the future.” R & D military communication research and development future and science fiction lasers masers electronic media research and development, and lasers future, and lasers future Bromberg, Joan Lisa The Laser in America, 1950-1970 11750 Bronowski, J. with Gerald Barry James Fisher and Julian Huxley Technology: Man Remakes His World Garden City, N.Y. Doubleday & Company, Inc.
1963, 1964
Doubleday Pictorial Library This book, part of the Doubleday Pictorial Library series, attempts an encyclopedic treatment of technology. The first of its 16 chapters is historical, attempting to give an overview of technology through human history. Subsequent chapters are devoted to techniques of measurement (e.g., time, weights, temperature, etc.); power; natural resources; chemical technology; metals; glass and ceramics; agriculture and food production; textiles; building technology; land, water, and air transportation; military technology; communications, including printing, photography, recording, motion pictures, radio, television, computers, cybernetics, and more. A final concluding chapter explores social consequences. The authors predict that soon "the moon will be covered with semiconductors and photoelements that will convert the sun's energy into power" that can be used on earth. But the social impact of technology is not examined very deeply. The work says that "new discoveries unfailingly bring social changes, and society must adapt to them or die." R & D computers tape recording, magnetic magnetic recording magnetic tape recording photography time and timekeeping magnetic tape print research and development war materials materials genetics engines digitization computers and the Internet timekeeping, and clocks war general studies |photography and visual communication sound recording motion pictures military communication television radio rocketry tape recording telecommunications cybernetics automation computers digital media analog media computers, digital computers, analog printing transportation aeronautics and space communication satellites ceramics engines, steam nuclear energy timekeeping biotechnology genetic engineering railroads artificial intelligence and biotechnology labor Bronowski, J. with Gerald Barry James Fisher and Julian Huxley Technology: Man Remakes His World 22550 Bronstein, Carolyn Porn Tours: The Rise and Fall of the American Feminist Anti-Pornography Movement Madison, WI doctoral thesis, University of Wisconsin
2001
This doctoral thesis examines the activities of three grassroots feminist organizations, Women Against Violence Against Women (WAVAW), Women Against Violence in Pornography and Media (WAVPM), and Women Against Pornography (WAP). The groups had disparate goals. WAVAW was essential opposed to violence more than to pornography. WAP targeted pornography and exhibited pro-censorship tendencies that alarmed feminist who were advocates of free speech and who were pro-sex. By 1986, the feminist anti-pornography movement had lost much of its political clout. This work also has a discussion of changes sexual attitudes during the 1960s and 1970s, as well as the role that new media technologies (e.g., cable and video recording) played in these changes. women, and new media sexuality new media media effects media violence violence First Amendment women feminism freedom law censorship and ratings censorship pornography women feminists women, and pornography feminists, and pornography pornography, and feminists pornography, and women Dworkin, Andrea MacKinnon, Catharine WAVPM Women Against Pornography (WAV) WAVAW pornography, and opponents censorship, and pornography pornography, and censorship First Amendment, and pornography First Amendment, and feminists feminists, and First Amendment women, and violence violence, and women feminists, and violence violence, and feminists Brownmiller, Susan new media, and pornography pornography, and new media Bronstein, Carolyn Porn Tours: The Rise and Fall of the American Feminist Anti-Pornography Movement 15540 Bronstein, Carolyn Stephen Vaughn Willard G. Bleyer and the Relevance of Journalism Education Journalism and Mass Communication Monographs
June, 1998
166 1-36 This article discusses Willard G. Bleyer and the founding of the School of Journalism at the University of Wisconsin, Madison. The context of Bleyer's efforts was the rapidly changing media environment. Electricity, photography and moving pictures (and newsreels), telephones, improvements in transportation, the growth of public relations and advertising, all posed challenges to good journalism. Bleyer believe journalists needed professional training and standards no less than did medical doctors and lawyers. ethics advertising, and public relations propaganda public relations propaganda advertising public relations values news and journalism news news and journalism ethics news and journalism motion pictures, and journalism motion pictures and popular culture motion pictures journalism, and new media news, and new media public relations, and journalism journalism, and public relations advertising, and journalism journalism, and advertising journalism, and profesionalization ethics, and journalism journalism, and ethics journalism advertising values Stephen Vaughn Willard G. Bleyer and the Relevance of Journalism Education 9020 Brook, James and Ian Boal eds. Resisting the Virtual Life: The Culture and Politics of Information San Francisco City Lights
1995
Is there a virtual public? The question is of course quite difficult to answer because, in part, those who study public discourse cannot agree on the existence of an actual public. But if one applies the definitions of “the public” offered by those scholars to the activity now observable on the Internet, at least a partial answer can be found.
The premise of Resisting the Virtual Life is that public life has already been diminished by television and other technologies, and further erosion of the public sphere is likely with the spread of the global Internet. The book is a collection of essays edited by Iain Boal, who teaches in the Geography Department at Berkeley, and James Brook, a Silicon Valley technician-turned-poet. The editors call virtual technologies “pernicious” because they are substitutes for face-to-face interactions. This is a recurrent theme in the book, and follows closely the arguments of John Dewey, Juergen Habermas and James Carey on the importance of talk and public assembly. If democracy depends upon, and the “public sphere” is created by face-to-face rational-critical discussions, then anything which reduces such contacts could indeed be viewed as “pernicious.”
This view is effectively argued in the chapter by Chris Carlsson, a multimedia designer and critic. Carlsson believes the erosion of the public sphere may be responsible for some users’ retreat into cyberspace, particularly evident in the proliferation of electronic forums called newsgroups or bulletin boards. But Carlsson says the geographic distance between participants does not allow them to “reclaim the public space essential to a free society.” They are engaged in what he terms “empty, pointless verbiage.” Carlsson calls them dreamers.
A similar point is made in the essay by Howard Besser, a professor of Information Science at Berkeley. Besser believes that time spent online will necessarily reduce the amount of time spent with real people. For example, Besser says museum attendance will decline as people choose the safe, predictable “virtual” world and shun public spaces where chance encounters could occur.
The Besser and Carlsson essays typify the conceptualization of “the public” found in Resisting the Virtual Life. Because time spent in front of a computer screen is not time spent talking with people, “virtual reality” diminishes the public sphere. Democratic life is therefore embodied by face-to-face conversation. This view would not be shared by Michael Schudson. Schudson argues against what he calls this “romance-of-conversation.” He emphasizes the contributions made by the printed word and even mass media messages. And it is not, according to Schudson, free, equal and spontaneous discussion which makes conversation democratic, but equal access to the floor, and rules which encourage pertinent speaking, and careful listening. Without this structure, the loudest or most articulate speaker will often dominate the process. The kind of public debate which Schudson proposes can now be found in online chat rooms and discussion groups. Each person, regardless of status, or appearance, or speaking style can post messages to the group. They can spend as much time as needed to express their views, without fear of being interrupted or shouted down. Debate is kept focused by the variety of discussion groups available and the grouping of messages by topic. Do these forums serve no purpose? Are they filled with “empty pointless verbiage?”
One essay in Resisting the Virtual Life does address the egalitarian nature of some parts of the Internet. Laura Miller, a freelance journalist, disputes the popular notion that cyberspace is no place for women. While acknowledging that some men will try to intimidate women online, Miller argues that their usual tools of intimidation, physical size, deep voice and threats of violence, are neutralized in virtual reality. Would Schudson’s Vermont town meeting where the men spoke twice as often as the women have played out the same way if it had been conducted online? In Miller’s view, the playing field is leveled in cyberspace because bodies are absent and only thoughts exist. To think otherwise assumes women’s’ minds are, as Miller puts it “weak, fragile and unsuited to the rough and tumble of public discourse.”
The Internet offers one other advantage over the print and broadcast media, the possibility of two-way communication or “interactivity.” Several essays in Resisting the Virtual Life address, and ultimately reject the potential of this new feature. Most of the essayists fail to see the human-to-human aspects of interactivity, focusing solely on human-to-computer interactive programs. These are criticized as the latest examples of human withdrawal from the “real” world. The book’s editors see interactivity as means of “intensifying” passive behavior. However, two contributing authors do address the potential for two-way communication. Jesse Drew, a producer of alternative media and a doctoral student at the University of Texas, predicts interactivity which is now used for real interaction will eventually be limited to home shopping and movies on demand. He says technology usually attends to profit, not to public need. This viewed is reiterated by Besser who believes the current two-way flow of information will eventually be like a “ten-lane highway coming into the home, with only a tiny path leading back out,” and that path will be just large enough to accommodate credit card numbers.
Is this view of the future overly cynical, or are the authors right on track? In reality, the contributors to Resisting the Virtual Life don’t want to be right. The books’ main purpose is one of caution. While sounding quite Luddite, in the end most of the authors ask, actually implore, the users of new technologies to consider the long-term ramifications of their behavior. Drew, while skeptical of “cybermedia,” recognizes the communal spirit evident in such developments as “shareware” and free access to the Internet provided by libraries. He wants its users to take what they can from it and try to make a positive difference in the “real” world.
So is there a virtual public? If public life only occurs during face-to-face contact then the answer must be “no.” But if we look at the other defining characteristics of the public sphere, the answer might be “yes.” Citizens are coming together to engage in rational-critical debate over political and moral issues. Participation is open to anyone who wants to post a message (and can get access to the Internet, certainly a difficulty for some). A code of conduct is even apparent, although enforcement is problematic. The status of the communicator is not important and usually unknown, and any topic is open for discussion. The combination of these factors makes for debate which is more “democratic” than you’ll find just about anywhere in the “real” world, but alas, it is not conducted in person, face-to-face. On that basis, Resisting the Virtual Life would have us reject it.
--Mark Tremayne computers interactivity women, and new media censorship and ratings regulation media media effects) media convergence mass media Internet democracy community law regulation media computers and the Internet Tremayne, Mark democracy and media critics cyberspace public sphere Carey, James Habermas, Jûrgen Dewey, John women women, and cyberspace women, and computers virtual reality media convergence interactive media regulation, and Internet public opinion community, and Internet television television, and community television, and public sphere Schudson, Michael Internet, and democracy democracy, and Internet Brook, James and Ian Boal eds. Resisting the Virtual Life: The Culture and Politics of Information 3030 Brooker, Floyde E. Motion Pictures as an Aid to Education The Annals of The American Academy of Political and Social Science
Nov., 1947
103-09 See also: violence See also: sexuality See filed under Annals.... (1947). This article discusses the use of film for educational purposes. It considers the history of educational films and factors limiting their use. The author predicts that by 1950, schools will have 100,000 16mm projectors, an increase from the 35,000 sound projectors in use in 1947. censorship and ratings public relations advertising propaganda values motion pictures education community democracy community law audiences motion pictures and popular culture regulation, and motion pictures audiences, and motion pictures motion pictures, and audiences values values, and motion pictures motion pictures, and values media effects media effects, and motion pictures propaganda, and motion pictures education, and motion pictures education, and 16mm film 16mm film, and education motion pictures, and 16mm film motion pictures, and projectors motion pictures, and educaton democracy, and motion pictures community, and motion pictures 16mm regulation public relations advertising and public relations 16mm 16mm film Brooker, Floyde E. Motion Pictures as an Aid to Education 10230 Brooks, John The First and Only Century of Telephone Literature Ithiel de Sola Pool, ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
208-24 The author examines how the telephone has appeared in literature. Such authors as James Joyce, Marcel Proust, Carl Sandburg, F. Scott Fitzgerald, Robert Frost, Dorothy Parker, J. D. Salinger, and several more are surveyed. non-USA values telephones telephones, and literature Sandburg, Carl, and telephones Fitzgerald, F. Scott, and telephones Proust, Marcel, and telephones values, and telephones Frost, Robert, and telephones Parker, Dorothy, and telephones Salinger, J. D, and telephones Sandburg, Carl, and telephones Proust, Marcel Brooks, John The First and Only Century of Telephone Literature 5300 Brooks, John Telephone: The First Hundred Years New York Harper and Row
1976
telephones Bell, Alexander Graham Brooks, John Telephone: The First Hundred Years 27930 Brosnan, John Movie Magic: The Story of Special Effects in the Cinema London MacDonald and Jane's St. Giles House
1974
This work deals with innovations in special effects and how they increased the ability to show violence and horror in motion pictures. The work is nicely illustrated. motion pictures media effects media violence horror non-USA motion pictures and popular culture special effects special effects, and horror horror films, and special effects violence violence, and special effects special effects, and violence motion pictures, and violence Great Britain Great Britain, and special effects motion pictures and popular culture motion pictures, and special effects special effects, and motion pictures Brosnan, John Movie Magic: The Story of Special Effects in the Cinema 33250 Brown, Elspeth H. The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884-1929 Baltimore Johns Hopkins University Press
2005
This work's four chapters are: 1) "The Physiognomy of American Labor: Photography and Employee Rationalization"; 2) "Industrial Choreography: Photography and the Standardization of Motion"; 3) "Engineering the Subjective: Lewis W. Hine's Work Portraits and Corporate Paternalism in the 1920s"; 4) "Rationalizing Consumption: Photography and Commercial Illustration." photography women, and new media advertising, and public relations propaganda public relations communication revolution photography and visual communication magazines labor general studies photography and visual communication electricity capitalism advertising advertising, and photography cameras, portable color, and new film (1930s) cameras, and flash bulbs (1930s) magazines, and color communication revolution reproduction technologies (1930s) labor, and photography women, and photography photography, documentary cameras color color, and magazines duplicating technologies labor photography, and bias labor women capitalism, and photography photography, and capitalism labor, and photography photography, and labor photography, and Lewis Hine Hine, Lewis, and photography reproduction revolution Brown, Elspeth H. The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884-1929 42310 Brown, Henry B. The Twentieth Century Forum
Aug. 1895
641-57 U. S. Supreme Court Associate Justice Henry B. Brown told the graduating class at Yale Law School in 1895 that steam power electricity were among those invention “destined to revolutionize the world, and in comparison with which all the prior discoveries since the Christian era were of minor importance.” (642) It had already “profoundly affected the inner life of the people,” he said. (642) Brown, who would write the landmark Supreme Court decision Plessy v. Ferguson (1896) which justified separate equal facilities for blacks and whites, goes on in this address to discuss universal suffrage (which he linked to “municipal corruption” [650], corporate greed, trusts, “the tyranny of labor” (654, emphasis in original text), railroads. electricity transportation transportation, and steam power steam power, and transportation electricity, and transportation transportation, and electricity electricity, and electricity, and Christianity law law, and electricity electricity, and law steam power Brown, Henry B. The Twentieth Century 1420 Brown, Julie K. Contesting Images: Photography and the World’s Columbian Exposition Tucson University of Arizona Press
1994
photography World Fairs photography and visual communication photography and visual communication World Fairs, and Columbian Exposition (1893) Columbian Exposition, and photography photography, and world fairs photography, and Columbian Exposition Brown, Julie K. Contesting Images: Photography and the World’s Columbian Exposition 9590 Brown, Richard D. Knowledge is Power: The Diffusion of Information in Early America, 1700-1865 New York Oxford University Press
1989
Brown looks at the ways in which the diffusion of information in America changed from the colonial period to the early decades of the republic. Essentially, those changes moved American society toward a far more egalitarian system of information distribution. The colonial period was characterized by a “top-down” mode of distribution in which information of general concern often came first through conversation or correspondence to elites, who then decided the degree to which it would be promulgated to the public at large. As print culture in the post-Revolution period expanded the ways in which information might be obtained, the general public acquired more ready access to knowledge that previously had been disposed of by the elites. In many ways this helped to realize the republican ideal of an informed and educated citizenry fit for self-government. But it also led to the trivialization and commercialization of information, as well as to a system in which the individual chose what he deemed to be valuable for his own purposes. These latter trends sped up the process of fragmentation and community dissolution that arguably characterize modern American life.
-- Gordon Jackson

 Brown writes that at least one implication “jumps out from the evidence assembled here. Colonial society, for all its diversity, had been essentially a collection of local societies in which both a patina and much of the substance of a common, coherent Christian culture was maintained. Reading and oratory were dominated by religious messages, and the themes of order and stability expressed by church and state were mutually reinforcing. Competition, while real, was subordinate to cooperation in community and even, in many instances, in commercial life. But as the 19th-century republic developed, coherence was supplanted and competition ruled. Clergymen like Henry Ward Beecher, politicians like Daniel Webster who could win the largest followings, lyceum speakers who could sell the most tickets, authors whose works sold widely became influential not because of any office they held or any prescribed public role, but because of their engaging popular performances. In a competitive environment of regional or national dimensions, where purveyors of each type of information had to compete with others conveying similar information as well as with a multitude of entirely different sorts of information, each individual was invited to discover his or her own coherent culture from within the galaxy of religious sects, political parties, and reform societies that were thriving in the new republic. The new patterns for the diffusion of information were not in themselves responsible for these developments, but they would have been inconceivable without the new configuration of information diffusion that offered many choices to many people.” print journalism community democracy news and journalism books, periodicals, newspapers printing Jackson, Gordon informantion diffusion print culture democracy and media democracy, and print culture print culture, and democracy news, and print culture news, and colonial America commercialization news Brown, Richard D. Knowledge is Power: The Diffusion of Information in Early America, 1700-1865 11730 Brown, Robert M. The Electronic Invasion New York John F. Rider Publisher, Inc.
1967
This book provides historical perspective on the use of electronic technology to bug and otherwise invade the privacy of citizens. It describes the state of the art in 1967. The author begins by saying that “despite the protection against insidious invasions of privacy afforded by the Fourth Amendment to the Constitution, electronic bugging is so shockingly widespread and so ingeniously devised that no one can be certain any longer than his home is his castle. Widespread attention to this problem from the President on down testifies to the serious threat many persons feel this situation poses to the society in which we live.”
The opening chapter discusses how electronic snooping evolved. A turning point came in 1960, Brown believes, when then United States ambassador to the United Nations, Henry Cabot Lodge, revealed that the Soviet had bugged the Great Seal of the U.S. Public interest in this topic increased thereafter, as did the efforts by many countries to engage in this activity.
Some indication as to how far miniaturization had proceeded by 1967 is found in this work. One picture shows a thimble containing 8,000 wafers, each a complete circuit. Future amplifiers, the author says, will probably be the size of these wafers. Another picture shows a human tooth that has been bugged.
Brown devotes chapters to buyers and sellers of this technology, telephone bugging, eavesdropping microphones and miniature audio amplifiers, FM wireless microphones and room bugs, bumper beepers, recording devices, spy receivers, electronic bug detection, speech scramblers, and bugging and de-bugging circuits. A chapters also lists who then sold this equipment, and legal restrictions on eavesdropping. computers surveillance integrated circuits transistors law, and privacy law materials computers recording radio public address systems general studies privacy Fourth Amendment electronic media bugging, electronic United Nations Lodge, Henry Cabot miniaturization microphones recording devices bugging, legal bugging, equipment eavesdropping sound recording radio radio, and FM microphones, wireless computers and the Internet computers, chips integrated circuits bugging radio, and FM materials Brown, Robert M. The Electronic Invasion 6140 Brownlow, Kevin Behind the Mask of Innocence New York Alfred A. Knopf
1990
This substantial, well-researched book is a study of cinema in the silent era. Brownlow shows that silent pictures dealt with an “astonishing range of subjects.” “While few of these films made history,” he writes, “all of them -- if only for a few moments -- recorded it.” Brownlow show that nudity, adultery, drug addition, abortion, and many other themes were treated in films. An excellent source for the content of moving pictures, many of which are difficult to find, if in fact, they still exist. history preservation sexuality history, and new media substance abuse drug abuse law censorship and ratings law censorship and ratings values regulation nudity motion pictures motion pictures values, and motion pictures abortion, and motion pictures drug addiction, and motion pictures nudity, and motion pictures censorship, and motion pictures regulation, and motion pictures motion pictures, and abortion motion pictures, and drug addition motion pictures, and nudity motion pictures, and adultery motion pictures, and silent movies abortion censorship children, and media children motion pictures, pre-Production Code children, and motion pictures history, and motion pictures motion pictures, and history history Brownlow, Kevin Behind the Mask of Innocence 21200 Brownstein, Ronald The Power and the Glitter: The Hollywood-Washington Connection New York Pantheon Books
1990
This book examines the growing relationship between movie celebrities and political leaders. It demonstrates how closely woven the movie industry is to American political culture. Early in the twentieth century, movie stars were often regarded with great suspicion by politicians. That began to change during the Franklin D. Roosevelt administration as studio executives such as Jack and Harry Warner courted the president. Brownstein's chapter on John F. Kennedy and Hollywood, especially relation with Frank Sinatra, make excellent reading. Of course, Ronald Reagan, himself a former movie actor, was elected President in 1980. His adminstration marked a high point in the connection between Hollywood and the corridors of power. Motion Picture Association of America (MPAA) MPAA presidents, and new media Reagan administration motion pictures Kennedy administration Johnson administration Hollywood motion pictures and popular culture Reagan, Ronald, and Hollywood Hollywood, and Ronald Reagan Johnson, Lyndon, and Hollywood Johnson, Lyndon Kennedy, John F. Kennedy, John F., and Hollywood Wasserman, Lew Valenti, Jack Hollywood, and politics Krim, Arthur Weisl, Edwin, Sr. Reagan, Ronald Brownstein, Ronald The Power and the Glitter: The Hollywood-Washington Connection 20910 Brozan, Nadine Chronicle [Richard Heffner, 71, and Open Mind] New York Times
Aug. 5, 1996
B B8 This article reports that Richard D. Heffner, the former head of the movie industry's Classification and Ratings Administration, turned 71 and celebrates the 40th anniversary of his television program, "The Open Mind." Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship motion pictures and popular culture motion pictures motion pictures, and Richard Heffner CARA CARA, and Richard Heffner Valenti, Jack Heffner, Richard, and CARA censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and background Heffner, Richard, and Jack Valenti Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Brozan, Nadine Chronicle [Richard Heffner, 71, and Open Mind] 5310 Bruce, Robert V. Bell: Alexander Graham Bell and the Conquest of Solitude Boston Little, Brown and Company
1973
This 497-page biography provides valuable detail on both the invention of the telephone, and on Bell’s life before and after the invention. Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories telephones biography Bell, Alexander Graham Bruce, Robert V. Bell: Alexander Graham Bell and the Conquest of Solitude 20990 Bruck, Connie The Personal Touch The New Yorker
Aug. 13, 2001
42-54, 56-59 This article chronicles the career of Jack Valenti, from his Houston origins, to working with Lyndon Johnson in the White, to his position as head of the Motion Picture Association of America (MPAA). The author is essentially kind to Valenti; little of a critical nature comes through in this piece. She notes the role that Lew Wasserman had in Valenti's selection as MPAA head and in Valenti's subsequent work. This work makes some use (briefly) of Richard D. Heffner Oral History at Columbia University. Heffner was head of CARA. The author is listed as a staff writer for The New Yorker and is working on a book about the Music Corporation of America (MCA). music Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation corporations Johnson, Lyndon corporations Classification and Rating Administration (CARA) MCA presidents, and new media censorship and ratings Johnson administration law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures motion pictures, and censorship Valenti, Jack motion pictures, and Jack Valenti Heffner, Richard, and Jack Valenti Valenti, Jack, and Richard Heffner CARA CARA, and Jack Valenti CARA, and Richard Heffner Valenti, Jack, and Lew Wasserman Wasserman, Lew Music Corporation of America (MCA) Valenti, Jack, and Lyndon Johnson Johnson, Lyndon, and Jack Valenti Valenti, Jack, and public relations Heffner, Richard Music Corporation of America (MCA) MCA Bruck, Connie The Personal Touch 28770 Bruck, Connie When Hollywood Had a King: The Reign of Lew Wasserman, Who Leveraged Talent into Power and Influence New York Random House
2003
This book is based to a large degree on about 250 interviews (including Lew Waserman and many of his associates) and to a lesser degree on oral histories and other documents. The work is not footnoted and so it is difficult to know the precise location of quotations and other cited materials. There are also errors: "Will Hayes" should be "Will Hays"; the "Motion Pictures Producers Association" should be "Motion Picture Producers and Distributors of America"; Eric A. Johnston retired from the MPAA in 1961. (231)
This work does provide a good deal of information about Wasserman including his political connections with Washington, D.C. Wasserman and Jack Valenti claimed that Lyndon Johnson offered Wasserman the cabinet post of Secretary of Commerce in 1964, but that Wasserman declined. Bruck argues that Valenti and Wasserman are the sources for this story and that other close to the President doubted that Johnson would have made such an offer to Wasserman, feeling that Senate confirmation hearings might have raised possible connections between Wasserman and organized crime. music Motion Picture Association of America (MPAA) MPAA corporations Johnson, Lyndon corporations corporations corporations motion pictures and popular culture motion pictures motion pictures, and censorship Valenti, Jack motion pictures, and Jack Valenti Valenti, Jack, and Lew Wasserman Wasserman, Lew Music Corporation of America (MCA) MCA Valenti, Jack, and Lyndon Johnson Johnson, Lyndon, and Jack Valenti Valenti, Jack, and public relations Reagan, Ronald Reagan, Ronald, and Lew Wasserman Wasserman, Lew, and Ronald Reagan Wasserman, Lew, and Jack Valenti Krim, Arthur presidents and new media presidents, and Hollywood Hollywood, and politics Screen Actors Guild Universal Pictures Kennedy, John F. Kennedy, John F., and Hollywood Nixon, Richard Nixon, Richard, and Hollywood Johnson, Lyndon Johnson, Lyndon, and Hollywood Johnson, Lyndon, and Lew Wasserman Wasserman, Lew and Lyndon Johnson Stein, Jules, and MCA MCA, and Jules Stein television television, and motion pictures motion pictures, and television television, and Lew Wasserman Wasserman, Lew, and television MPAA, and Lew Wasserman Wasserman, Lew, and MPAA United Artists MGM Paramount Pictures Hollywood MPAA Reagan administration Bruck, Connie When Hollywood Had a King: The Reign of Lew Wasserman, Who Leveraged Talent into Power and Influence 1430 Brusatin, Manlio A History of Colors (translated from Italian by Robert H. Hopcke and Paul Schwartz). Boston Shambhala
1991
The author opens this book by writing: “The universe of colors is a little jewel box of images, a place where Newton built his theory of modern physics with sunlight and certainty, where Goethe in turn constructed an entire history to enshrine a principle he had sought after madly -- namely, the unpredictability of nature and the natural simplicity of the arts, of knowing how to see and feel.”
He then asks: “But what has science proposed concerning this universe of colors?”
Brusatin goes on to write: “In this brief history, we will be noting how much actually is derived from the material aspects of colors, the mode of their manufacture, their use and the fate of these colors, up until the tragic beginning of the industrial age, tracing a history from natural dyes subject to the fading of time and the violet-colored ghosts they leave behind, to strong chemical dyes as violent and basic as poison. Beyond this line of inquiry, this will be a story with many fleeting events, wherein we will draw close to the production of ancient marvels so near themselves to the body and yet not to be confused with mere corporeality, a time capable for the art of knowing, without feeling either the weight or the space of it.”
The author devotes a few pages on nineteenth-century colors that were the product of the chemical industry.
“This book is dedicated to the rebirth of painting,” the author says. photography photography and visual communication Newton, Isaac, and color Goethe, J. W. von, and color color, and history of color, and natural dyes color, and chemical dyes color, and 19th century painting color Brusatin, Manlio A History of Colors (translated from Italian by Robert H. Hopcke and Paul Schwartz). 2070 Brzezinski, Zbigniew America in the Technetronic Age Encounter
Jan. 1968
30 1 16-26 Brzezinski in 1968 wrote that "men living in the developed world will undergo during the next several decades a mutation potentially as basic as that experienced through the slow process of evolution from animal to human experience. The difference, however, is that the process will be telescoped in time -- and hence the shock effect of the change may be quite profound. Human conduct will become less spontaneous and less mysterious -- more predetermined and subject to deliberate 'programming.' Man will increasingly possess the capacity to determine the sex of his children, to affect through drugs the extent of their intelligence and to modify and control their personalities. The human brain will acquire expanded powers, with computers becoming as routine an extension of man's reasoning as automobiles have been of man's mobility. ...
"...Cybernetics and automation will revolutionize working habits, with leisure becoming the practice and active work the exception -- and a privilege reserved for the most talented. The achievement-oriented society might give way to the amusement-focused society, with essentially spectator spectacles (mass sports, TV) providing an opiate for increasingly purposeless masses." computers USSR nationalism values preservation communication revolution history, and new media communication revolution, and second industrial revolution war non-USA history home, and new media home values television aeronautics and space communication home, and information technology labor information technology nationalism and communication global communication values, and information technology postindustrial society Bell, Daniel change, acceleration of labor automation computers satellites television, and satellites education, and information technology information technology, and home cybernetics labor, and automation computers, and Department of Defense America, and global revolution second industrial revolution communication revolution Soviet Union Third World change computers and the Internet computers education leisure, and new media history, break with computers, and human nature artificial intelligence and biotechnology labor labor, and new media values, and new media satellites, and nationalism nationalism, and satellites military communication leisure Brzezinski, Zbigniew America in the Technetronic Age 2060 Brzezinski, Zbigniew Between Two Ages: America’s Role in the Technetronic Era New York Viking Press
1970
See also: office This book was written by the man who later would become President Jimmy Carter’s national security adviser. Brzezinski argued in 1970 that the United States and other advanced industrial nations were emerging from the industrial stage of their development and moving into an age of “technetronics” (in which technology and electronics were becoming the primary factors in determining social change, altering values, and creating a global society). Brzezinski’s set out these ideas earlier in an article, “America in the Technetronic Age,” Encounter (Jan. 1968). He acknowledges the influence of Daniel Bell, who later would write about “post-industrial” society. The book is divided in to five sections. The first considers the impact of the revolution in science and technology on the U.S. and Third World. “A new pattern of international politics is emerging,” Brzezinski wrote. “The world is ceasing to be an arena in which relatively self-contained, ‘sovereign,’ and homogeneous nations interact, collaborate, clash or make war.” In America, this revolution, driven especially by computers and communication, was already creating a society unlike the industrial era. New social patterns were appearing. Cybernetics and automation were replacing machines operated by people. Unemployment and obsolete skills plagued blue-collar workers. Barriers to education were falling. People with special skills and intellectual abilities challenged the urban-plutocratic leadership elite of the industrial era. Universities were becoming “think tanks” more political and social planning and innovation. These and other changes promised to make “the technetronic society as different from the industrial as the industrial was from the agrarian.”
Brzezinski saw that satellite television would “enable some states to ‘invade’ private homes in other countries,” creating “unprecedented global intimacy.” America was the primary disseminator of this global revolution.
Of interest is Brzezinski’s assessment of Soviet technological capabilities. They were near the bottom of developed nations in radios, telephones, air communication, cars, highways, and computers. In 1968, he notes that 50,000 to 70,000 computers were in use in the United States (of which only 10 percent were used by the Pentagon). In the USSR, only 2,000 to 3,500 computers were in nonmilitary use. computers USSR nationalism values preservation communication revolution history, and new media communication revolution, and second industrial revolution war non-USA history home, and new media home values aeronautics and space communication telephones Soviet Union radio home, and information technology labor information technology nationalism and communication global communication values, and information technology postindustrial society Bell, Daniel change, acceleration of labor automation computers satellites television, and satellites education, and information technology information technology, and home cybernetics labor, and automation computers, and Department of Defense America, and global revolution second industrial revolution communication revolution Soviet Union, and radio Soviet Union, and telephones Soviet Union, and air communication Soviet Union, and automobiles Soviet Union, and transportation Soviet Union, and computers Soviet Union, and new media computers, and Soviet Union telephones, and Soviet Union radio, and Soviet Union automobiles, and Soviet Union Third World technetronics Japan communism television Germany automobiles change computers computers and the Internet education Soviet Union telephones computers and the Internet computers, and nationalism nationalism, and computers nationalism, and satellites satellites, and nationalism history, break with military communication artificial intelligence and biotechnology transportation Brzezinski, Zbigniew Between Two Ages: America’s Role in the Technetronic Era 3490 Buchanan, David A. Using the New Technology Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
454-65 See also: office The author maintains that one cannot predict what influence new information technology will have on the quality of work simply from the technology's technical features. This work appeared earlier in the European Management Journal, Vol 1, (No. 2, 1982). A fuller version of this research is in David A. Buchanan and David Boddy, Organisations in the Computer Age (Aldershot, Eng.: Gower Press, 1983). computers non-USA labor computers and the Internet automation Great Britain labor, and automation labor, and new media Buchanan, David A. Using the New Technology 4880 Buchanan, R. A. Public Utilities Ian McNeil, ed. An Encyclopedia of the History of Technology London and New York Routledge
1990
949-66 This survey deals with such themes as water and power supplies, waste disposal, roads and postal services, and telegraph and telephone services. post office References, Statistics, Timelines, Maps electricity telegraph reference works telephones postal service transportation public utilities waste disposal water power networks Buchanan, R. A. Public Utilities 22320 Buckley, Tom Oh! Copenhagen New York Times Magazine
Feb. 8, 1970
32-46 See also: media See also: violence See also: sexuality This work discusses the growing popularity of erotica and pornography in mass media, this in the context of the President's Commission on Obscenity and Pornography. sexuality motion pictures mass media media effects crime pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and supporters pornography, and crime crime, and pornography Buckley, Tom Oh! Copenhagen 1860 Bucknall, Rixon Our Railway History London George Allen and Unwin, Ltd.
1970
This work is more of an enthusiast’s history of the railways. Largely nostalgic, this book concentrates largely on the locomotives with brief backgrounds on the industry. The work is grouped thematically by rail lines, and includes railways in Scotland, England, and Wales. Well illustrated, but otherwise lacks cited source material. A bibliography included at the beginning of the book lists railway studies from the late nineteenth- and early twentieth-centuries.
--Nicholas Wolf non-USA Wolf, Nicholas transportation Great Britain Great Britain, and railroad railroads Bucknall, Rixon Our Railway History 33200 Bucy, J. Fred Computer Sector Profile Anne G. Keatley, ed. Technological Frontiers and Foreign Relations Washington, D. C. National Academy Press
1985
46-78 Bucy covers, among other topics, developments relating to software and artificial intelligence. Bucy notes that "although the potential applications of AI are numerous and exciting, much work remains to be done in refining the generic rules of logic (i.e., how the human mind learns and reasons) and in transferring this knowledge to the computer system for each field of application." (56) technology R & D computers computers technology and society materials, and silicon Reagan administration Reagan, Ronald nationalism nationalism and communication artificial intelligence and biotechnology capitalism research and development computers, and nationalism nationalism, and computers materials nationalism, and materials materials, and nationalism foreign relations, and technology technology, and foreign relations computers, and software computers, and hardware space shuttle silicon semiconductors presidents and new media Reagan, Ronald, and technology Reagan administration, and technology Reagan administration, and foreign relations foreign relations, and Reagan administration computers and the Internet Reagan administration space communication aeronautics and space communication Bucy, J. Fred Computer Sector Profile 4320 Bud, Robert In the engine of industry: regulators of biotechnology, 1970-86 Martin Bauer, ed. Resistance to new technology: nuclear power, information technology and biotechnology New York Cambridge University Press
1995
293-309 This piece surveys efforts to regulate biotechnology in Japan, Europe, and the United States. The author concludes that the "attempt to cope with anxiety over technology has ... not been merely a retarding force, rather it has helped to steer, to power and even, at first, to constitute its development." technology nationalism censorship and ratings genetics community democracy law non-USA values regulation artificial intelligence and biotechnology regulation, and biotechnology Japan Europe nationalism and communication values, and biotechnology genetic engineering technology and society democracy and media critics Bud, Robert In the engine of industry: regulators of biotechnology, 1970-86 6010 Buderi, Robert The Invention that Changed the World: The Story of Radar from War to Peace Boston Little, Brown and Company
1996
This book is part of the Sloan Technology Series, which seeks to reach a non-specialized audience. Buderi was formerly the technology editor of Business Week. This work discusses the scientists “who created the microwave radar systems that not only helped win World War II, but set off an explosion of scientific achievements and technological advances that have transformed our daily lives.” A team of British scientists came to Washington in September, 1940, bringing with them the cavity magnetron, “a revolutionary new source of microwave energy.” This device “triggered the dramatic mobilization of America’s top scientists, who enlisted in the ‘war within the war’ to convert the invention into a potent military weapon....” The author follows these radar scientists into the postwar era “as they applied the knowledge gained from their wartime work in many different fields. Among their numerous accomplishments, these scientists helped to create the field of radio astronomy and discover the transistor, nuclear magnetic resonance, and the maser, all advances that won Nobel Prizes. During the Cold War, others continued to push for the development of early warning systems. Still others came up with discoveries that were the basis for digital computer memories. “In countless ways,” the author maintains, “radar and its spin-offs have changed our world forever.”
Buderi writes: “The Radiation Lab, coupled with related microwave radar endeavors in the United States and Britain, emerged as a science and technology incubator on a scale probably unprecedented in history. At least two Nobel Prizes -- for nuclear magnetic resonance and the maser -- can be traced directly to wartime radar work. Every day several thousand commercial air carriers take to the skies. Virtually all the aircraft are tracked continuously by radar, sometimes to and from their gates. It takes more than three hundred radars, backed up by a ponderous array of display screens, communications nets, and personnel, just to keep the U.S. skies organized. Thousands more radar sets provide extra eyes for ships, boats, and pleasure craft. Many vessels also draw on the global navigational network Loran. Virtually all of these sprang directly from the Rad Lab, as do much of the world’s storm-watching systems and the TV weather report.
“The transistor -- via the legacy of the solid-state semiconductor crystals that formed the heart of radar receivers -- is largely a product of work contracted by the Rad Lab to places like Purdue University, the University of Pennsylvania, and Bell Labs, the second largest of the wartime radar houses. Digital computers, including the cathode ray displays and memories, owe a great debt to radar: they are the offspring of World War II systems. Microwave telephones and early television networks got critical boosts from wartime radar. The technology made a huge impact on astronomy by opening a region of the electromagnetic spectrum -- radio as opposed to optical -- that ultimately brought on the discovery of pulsars, quasars, and a plethora of hidden galaxies. And the list hardly stops there. Early particle accelerators owe a great debt to [the discovery of radar]. So does microwave spectroscopy. So, too, do the microwave ovens common in today’s homes, for a secret radar transmitter carried from Britain to America in fall 1940 forms the very core of these time-saving appliances.” U. S. Navy R & D atomic power USSR corporations corporations corporations corporations astronomy transistors integrated circuits research and development war government materials materials war non-USA home, and new media home World War II rocketry research and development home, and information technology Japan information technology military communication radar transistors Great Britain solid state semiconductors microwaves aeronautics and space communication satellites World War II, and radar research and development, and World War II air travel transportation U. S. Air Force, and radar U. S. Army, and radar AT & T atomic energy Bell Laboratories Bowen, Edward Geroge Bush, Vannevar Churchill, Winston DuBridge, Lee Germany Japan, and radar Jones, Reginald IBM U.S. Navy, and radar Office of Scientific Research and Development Purcell, Edward radar, and Radiation Laboratory astronomy, radio resonant cavity magnetron telecommunications Tizard, Henry Soviet Union vacuum tubes rocketry, and V-1 Watson-Watt, Sir Robert Alexander information technology, and home home, and new media World War II World War II, and research and development masers telephones telephones, and microwaves television, and microwaves television radar, and astronomy astronomy, and radar U. S. Air Force Buderi, Robert The Invention that Changed the World: The Story of Radar from War to Peace 9600 Buel, Richard Freedom of the Press in Revolutionary America: The Evolution of Libertarianism, 1760-1820 Bailyn, Bernard and John B. Hench eds. The Press and the American Revolution Worcester, MA American Antiquarian Society
1980
59-97 Buel writes that the “breakdown of effective control over the press in America owed something to the demand for printed matter and the increase in printers; it owed more to the geographic diffuseness of American society. Though England had her provincial presses, most publishers, up through the seventeenth century, were in London and therefore the more easily controlled. The colonies lacked both an obvious center for the trade and a common legal system, so that people wishing to publish matter that might offend the authorities in one place could usually find a neighboring jurisdiction which took a more tolerant attitude.” nationalism freedom law censorship and ratings books, periodicals, newspapers freedom of the press censorship, and press First Amendment prior restraint censorship nationalism and communication Buel, Richard Freedom of the Press in Revolutionary America: The Evolution of Libertarianism, 1760-1820 3130 Bulkeley, Rip Harbingers of Sputnik: The Amateur Radio Preparations in the Soviet Union History and Technology
1999
16 1 67-102 The author recounts early indications that the Soviet Union was planning to launch a satellite in 1957. He presents new material from the Soviet government's publication for radio amateurs, Radio. He describes instructions given to Soviet radio amateurs for tracking satellites. He then considers the fact that western radio amateurs, as well as intelligence agencies and scientists were unsuccessful in picking up clues about Soviet plans. "To complete the picture, contemporary assessments of the scientific values of amateur radio observations of the early satellites are surveyed. The article concludes by discussing the surprise aspect of the first sputniks in the light of the fresh information presented, and by noting some still unanswered historical questions." USSR nationalism Soviet Union, and space Soviet Union, and satellites satellites non-USA radio aeronautics and space communication Sputnik Soviet Union Soviet Union, and amateur radio Soviet Union, and Sputnik Sputnik, and amateur radio radio, amateur radio, and satellites satellites, and amateur radio nationalism and communication nationalism, and amateur radio nationalism, and satellites Bulkeley, Rip Harbingers of Sputnik: The Amateur Radio Preparations in the Soviet Union 12270 Bunch, Bryan// Alexander Hellemans The Timetables of Technology: A Chronology of the Most Important People and Events in the History of Technology New York Simon & Schuster
1993
This useful reference work begins with the Stone Age (2,400,000 - 4000 BC) and moves forward rapidly to more recent developments. Chapter 2 deals with the Metal Ages: 4000 BC - 1000 CE. Chapter 3 is “The Age of Water and Wind: 1000-1732.” Chapter 4 covers “The Industrial Revolution: 1733-1878.” Chapter 5 deals with “The Electric Age: 1879-1946.” There follows a chapter that covers the years from 1947-1972 on “The Electronic Age,” followed by a chapter entitled “The Information Age: 1973-1993.”
The timelines for each year are broken into developments in the following categories: General, Architecture and Construction, Communication, Energy, Food and Agriculture, Materials, Medical Technology, Tools and Devices, and Transportation. The work has both extensive name and subject indexes. It also has occasional short essays on such topics as “The integrated circuit, or chip,” “Scientists and defense,” to name only two. technology R & D computers post office microprocessing photography steam power References, Statistics, Timelines, Maps References, Statistics, Timelines, Maps print motion pictures research and development war communication revolution materials communication revolution, and second industrial revolution war timelines reference works technology and society Industrial Revolution second industrial revolution transistors electricity microprocessors television telephones telegraph transportation photography and visual communication motion pictures and popular culture military communication books, periodicals, newspapers aeronautics and space communication satellites lasers computers and the Internet radio railroads canals engines plastics printing postal service paper rocketry sound recording duplicating technologies engines, steam vacuum tubes writing X-rays communication revolution integrated circuits Bunch, Bryan// Alexander Hellemans The Timetables of Technology: A Chronology of the Most Important People and Events in the History of Technology 1080 Bureau of National Affairs Adopting Media Techniques Unions Today: New Tactics to Tackle Tough Times Washington, DC Bureau of National Affairs
1985
80-87 See also: office This report briefly details how unions were using mass media in the early 1980s, arguing that the “use of media by labor unions is undergoing a revolution.” One union official estimated at labor organizations were spending between $10 million and $15 million annually on media, and that advertising and public affairs offerings by labor organizations may have been more extensive at that time than ever before. Unions such as the Teamsters, the SEIU and UFCW, for example, were using film and videos for organizing. A 40-minute UFCW organizing film, The Road to Dignity, was also being marketed through direct mail to 25,000 high school teachers for use in vocational education and social studies classes. AFSCME, according to the authors, built a network-quality radio and television studio to produce public affairs programs and to conduct teleconferences that can be sent via satellite to television and radio stations around the country. In 1983 and 1984, the AFL-CIO’s Labor Institute of Public Affairs produced America Works, an 18-part series of half-hour programs shown on commercial and public television stations. In late 1984, LIPA launched the “Campaign for America’s Future,” a radio and television advertising effort kicked off with a nationwide teleconference with labor leaders and news reporters. The AFL-CIO, according to the authors, purchased ad time in 24 markets on 70 television stations and local labor bodies purchased 4,200 radio spots as part of the coordinated campaign. The UAW used broadcast advertising during 1984 to communicate for public support during labor negotiations with Ford. These communications were designed to meet key goals: improving union leaders’ communications with other union officials and members; providing better news media access to labor leaders; expanding communications with lawmakers, interest groups and opinion leaders; gaining public support for bargaining positions; and improving the public perception of labor.
--Phil Glende advertising, and public relations propaganda public relations propaganda advertising satellites Glende, Phil labor television radio aeronautics and space communication labor, and television television, and labor radio, and labor labor, and radio satellites, and labor labor, and satellites public relations advertising labor, and public relations public relations, and labor advertising, and labor labor, and advertising labor, and public television labor, and film Bureau of National Affairs Adopting Media Techniques 2850 Burke, Colin Information and Secrecy: Vannevar Bush, Utlra, and the Other Memex Metuchen, NJ and London Scarecrow Press, Inc.
1994
R & D computers nationalism research and development research and development war Bush, Vannevar research and development, and government support research and development, and Bush, Vannevar nationalism and communication military communication computers and the Internet Bush, Vannevar, and Memex Memex Burke, Colin Information and Secrecy: Vannevar Bush, Utlra, and the Other Memex 11530 Burke, James Connections Boston Little, Brown and Company
1978
Burke writes that “the more the tools, the faster the rate of change.
“It is with that aspect of change that this book is concerned. Today the rate of change has reached a point where it is questionable whether the environment can sustain it. My purpose is to acquaint the reader with some of the forces that have caused change in the past, looking in particular at eight recent innovations which may be most influential in structuring our own futures and in causing a further increase in the rate of change to which we may have to adapt. These are [1] the atomic bomb, [2] the telephone, [3] the computer, [4] the production-line system of manufacture, [5] the aircraft, [6] plastics, [7] the guided rocket and [8] television.” This book attempts to set these developments into a broad historical context dating back hundreds , if not thousands of years. It is nicely illustrated in both color and black and white. computers atomic power time and timekeeping time preservation history, and new media materials censorship and ratings children change history satellites general studies telephones computers aeronautics plastics materials rocketry television change, acceleration of time computers and the Internet atomic energy aeronautics and space communication air travel transportation satellites, and communication history, break with children, and media Burke, James Connections 2080 Burke, John G. Bursting Boilers and the Federal Power Stephen H. Cutliffe and Terry S. Reynolds, eds. Technology & American HistoryA Historical Anthology from Technology & Culture Chicago University of Chicago Press
1997
105-27 Burke argues that the steam engine changed attitudes toward government regulation. “The introduction of steam power was transforming American culture, and while Thoreau despised the belching locomotives that fouled his nest at Walden, the majority of Americans were delighted with the improved modes of transportation and the other benefits accompanying the expanding use of steam. However, while Americans rejoiced over this awesome power that was harnessed in the service of man, tragic events that were apparently concomitant to its use alarmed them -- the growing frequency of disastrous boiler explosions, primarily in marine service. At the time, there was not even a governmental agency that could institute a proper investigation of the accidents. Legal definitions of the responsibility or negligence of manufacturers or owners of potentially dangerous equipment were in an embryonic state. The belief existed that the enlightened self-interest of an entrepreneur sufficed to guarantee the public safety. This theory militated against the enactment of any legislation restricting the actions of the manufacturers or users of steam equipment.” nationalism law regulation nationalism and communication engines, steam railroads transportation, and steam regulation, and federal government transportation engines steam power censorship and ratings Burke, John G. Bursting Boilers and the Federal Power 3550 Burnham, David Data Protection Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
546-60 Burnham, a journalist then with the New York Times, argued that "cheap computing power makes it possible to keep masses of 'transactional information' -- records of phone calls, credit card payments, and so on -- in huge data bases and to transmit it across the country at low cost. The danger... is that these new computer networks increase the power of big organizations over the individual -- and they are wide open to abuse." This piece is the third chapter in the author's book The Rise of the Computer State (New York: Random House, 1983). computers nationalism corporations corporations, multinational values law, and privacy law archives community democracy non-USA values telephones surveillance political economy multinational corporations computers and the Internet computers, and society values, and computers privacy computers, and data bases multinational corporations, and data bases democracy and media surveillance, and data bases nationalism and communication telephones, and computer data bases critics computers information storage information storage, and computers Burnham, David Data Protection 3560 Burnham, David The Rise of the Computer State New York; and London Random House; and Weidenfeld & Nicolson
1980, 1981, 1983
The Rise of the Computer State is well-written. In it, Burnham argues that inexpensive computing power makes it possible to keep enormous amounts of transactional data such as telephone records, credit card transactions, etc., and to transmit such information virtually anywhere at low cost. These new computer networks strengthen the power of large organizations over individuals and this power is easily abused. Chapters include: "Surveillance," "Data Bases," "Power," "The National Security Agency -- The Ultimate Computer Bureaucracy," "Values," and more. Burnham's bibliography also provides a helpful introduction to the topic.
At the time this book appeared, Burnham was with the New York Times. Earlier he had published articles on corruption in New York City, based on information from Frank Serpico, and which led to the formation of the Knapp Commission. He also had written about the Kerr-McGee plutonium factory in Oklahoma, was to have interviewed Karen Silkwood, a worker at the plant, the night she was mysteriously killed. R & D computers Office of Technology Assessment (OTA) nationalism corporations, multinational corporations values law, and privacy law research and development war archives government community democracy war non-USA values telephones surveillance national security political economy multinational corporations computers and the Internet computers, and society values, and computers privacy computers, and data bases multinational corporations, and data bases democracy and media surveillance, and data bases nationalism and communication telephones, and computer data bases critics AT & T Central Intelligence Agency National Security Agency FBI Department of Defense, and computers Internal Revenue Service, and computers OTA military communication computers Department of Defense, U.S. telephones information storage information storage, and computers CIA Burnham, David The Rise of the Computer State 9610 Burns, Edward The American Idea of Mission: Concepts of National Purpose and Destiny New Brunswick, NJ Rutgers University Press
1957
This work details how intellectuals, political, military, and religious leaders, and others have promoted the idea of American mission from the Puritans into the twentieth century. The press played a role in promoting such ideas as manifest destiny. Political oratory, sermons, art, and letters helped build American nationalism.
Burns writes that “Americans have devoted much time and energy to rationalization of their idea of mission . . .Nearly every speaker and writer, whether liberal or conservative, has assigned the credit for our national superiority to such qualities as initiative, independence, aggressiveness, perseverance, industry, frugality, and enterprise. That a nation might experience a call to greatness for its generosity, humanity, tolerance, or justice seems never to have crossed their minds. Though America is officially proclaimed a Christian nation, it is not the virtues of Christianity that are credited with making her great. It is the ethics of the Book of Proverbs and of the Book of Kings and Chronicles that is exalted above all others. . . .
“There can be no doubt that industry, frugality, ambition, and glorification of material success are deeply imbedded in our folkways, but Puritanism is not necessarily their only source. . .Among the movers and shakers of American social and intellectual history at least half have had antecedents essentially non-Puritan. . .They undoubtedly exalted the individual and the virtues associated with ambition and self-assertion. But it was an individualism derived from the Enlightenment, from German Idealism, from Darwinism, and from the humanism fostered by an increasing awareness of man’s helplessness in a complex society. It had nothing to do with the Puritan conception of man as the instrument of divine omnipotence.”
Burns argues that before the nineteenth century, warfare played a small part in the idea of mission. “Recognition of war as a beneficent institution was almost unknown in America prior to the nineteenth century. The Puritans and their immediate descendants saw fighting as merely another evidence of the depravity of man. For Roger Williams and the Quakers, war conflicted with the basic principle that all men are brothers, regardless of their nationality, status, or color skin. The men of the Enlightenment conceived of international war as both inhumane and irrational and therefore unworthy of civilized beings who professed to follow the system of nature. But the French Revolution, and to some extent the American Revolution also, introduced into the world a fanatical idealism, which recognized bloodshed as a desirable means of attaining ends. . . Fanatical nationalism was born, and every war became a people’s war, with whole nations fighting against each other in self-defense or for some hallowed purpose. Whereas the wars of the eighteenth century had been chiefly wars of maneuver, with limited armies striving to win by superior strategy, the post-Revolutionary conflicts became total wars with annihilation their cardinal object.” R & D nationalism race research and development war values war nationalism and communication military communication books, periodicals, newspapers oratory nationalism, and mission nationalism, and art nationalism, and oratory nationalism, and print culture racism, and mission religion, and mission religion Burns, Edward The American Idea of Mission: Concepts of National Purpose and Destiny 2910 Burns, J. Christopher The Automatic Office Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
220-31 See also: office This piece discusses new technology available in 1977 that would enable office manager to improve efficiency. While there may be dramatic changes in store, many problems also have to be worked out. This piece, who at the time was a research for international consultant Arthur D. Little, Inc., first appeared in Datamation (April 1977). computers labor communication revolution second industrial revolution communication revolution office, and information technology microelectronics information technology computers and the Internet automation microelectronics revolution microelectronics, and office, and new media labor, and new media labor labor, and computers office Burns, J. Christopher The Automatic Office 6650 Burns, Robert British Television: The Formative Years London Peter Peregrinus Ltd.
1986
non-USA television Great Britain television, and Great Britain Great Britain, and television Burns, Robert British Television: The Formative Years 1440 Burrows, William E. Deep Black: Space Espionage and National Security New York Random House
1986
“‘I wouldn’t want to be quoted on this,’ Lyndon Johnson told a small group of local government officials and educators in Nashville in March, 1967, ‘but we’ve spent thirty-five or forty billion dollars on the space program. And if nothing else had come out of it except the knowledge we’ve gained from space photography, it would be worth ten times what the whole program has cost. Because tonight we now how many missiles the enemy has and, it turned out, our guesses were way off. We were doing things we didn’t need to do. We were building things we didn’t need to build. We were harboring fears we didn’t need to harbor.’” So begins Burrows’s book. By 1961, satellite photos were so good that U.S. intelligence could identify practically every car in Red Square in Moscow. Chapter 5 gives an information account of this technology during the Cuban Missile Crisis in 1962. Chapter 6 is entitled “Arms Control and the Acceptance of ‘Spies’ in the Sky.” Chapter 10, “Real Time: The Advent of Instant Intelligence,” discusses President Carter’s use of information from spy satellites. Chapter 11 considers “killer satellites.”
A former reporter, Burrows at the time of this book was teaching journalism at New York University. R & D National Aeronautics and Space Administration (NASA) computers corporations nationalism Kennedy, John F. Johnson, Lyndon Eisenhower, Dwight D. SDI photography presidents, and new media RAND Corporation research and development war Kennedy administration Johnson administration Eisenhower administration war non-USA computers and the Internet computers military communication space communication reconnaissance photography, and satellites photography and visual communication national security photography and visual communication aeronautics and space communication satellites national security, and space reconnaissance reconnaissance, and satellite photography photography, and satellite reconnaissance Cuban Missile Crisis, and satellite reconnaissance U-2 plane space shuttle space reconnaissance strategic computing initiative strategic defense initiative (SDI) rocketry RAND Corporation photoreconnaissance satellites, and photoreconnaissance NASA satellites, and Keyhole satellite system satellites, and Discoverer reconnaissance, and balloons cameras, and reconnaissance satellites, and anti-satellite weapons reconnaissance, aerial cameras nationalism and communication cameras, and surveillance National Aeronautics and Space Administration (NASA) photography, and surveillance reconnaissance, and satellites satellites, and photography cameras Johnson, Lyndon, and satellites Kennedy, John F., and satellites Eisenhower, Dwight, and satellites Cuba Burrows, William E. Deep Black: Space Espionage and National Security 41150 Buscombe Edward Sound and Color Bill Nichols, ed. Movies and Methods: Volume II: An Anthology Berkeley University of California Press
1985
83-92 color color, and sound Buscombe Edward Sound and Color 11740 Bush, Vannevar Endless Horizons Washington, D. C. Public Affairs Press
1946
This book is a collection of articles and speeches by Bush from 1933 to 1945 (most are from 1943-45). Chapter 1 (“The Inscrutable Past”) appeared in Technological Review (Jan. 1933) and talks about the typical life of a professor. Here one finds observations about the telephone, radio, television, advertisements, contemporary music. In discussing the library used by the professor, Bush writes that the “idea that one might have the contents of a thousand volumes, located in a couple of cubic feet in a desk, so that by depressing a few keys one could have a given page instantly projected before him, was regarded as the wildest sort of fancy.”
Chapter 2 (“As We May Think”) is a famous piece that original appeared in Atlantic Monthly (July 1945). “The world has arrived at an age of cheap complex devices of great reliability; and something is bound to come of it,” Bush said. He discusses the coming of dry photography (instant photos), facsimile transmission, and microfilm. “The Encyclopedia Britannica could be reduced to the volume of a matchbox. A library of a million volumes could be compressed into one end of a desk. If the human race has produced since the invention of movable type a total record, in the form of magazines, newspapers, books, tracts, advertising blurbs, correspondence, having a volume corresponding to a billion books, the whole affair, assembled and compressed, could be lugged off in a moving van.”
Bush talks about recording processes, complex calculating machines, and “selection devices” that will aid a person to find specific information buried in a mass of data. “One cannot hope thus to equal the speed and flexibility with which the mind follows an associative trail, but it should be possible to beat the mind decisively in regard to the permanence and clarity of the items resurrected from storage.” (See the section “Memex Instead of Index.”) “Consider a future device for individual use, which is a sort of mechanized private file and library. It needs a name, and, to coin one at random, ‘memex’ will do. A memex is a device in which an individual stores all his books, records, and communications, and which is mechanized so that it may be consulted with exceeding speed and flexibility. It is an enlarged intimate supplement to his memory.
“It consists of a desk, and while it can presumably be operated from a distance, it is primarily the piece of furniture at which he works. On the top are slanting translucent screens, on which material can be projected for convenient reading. There is a keyboard, and sets of buttons and levers. Otherwise it looks like an ordinary desk.
“In one end is the stored material. The matter of bulk is well taken care of by improved microfilm. Only a small part of the interior of the memex is devoted to storage, the rest to mechanism. Yet if the user inserted 5,000 pages of material a day it would take him hundreds of years to fill the repository, so he can profligate and enter material freely.” R & D computers photography advertising, and public relations military communication propaganda public relations research and development archives war microfiche, microfilm, microform libraries libraries, and information storage general studies telephones radio television advertising information storage photography and visual communication facsimile microfilm books miniaturization computers memex libraries photography, instant photography, dry books, periodicals, newspapers information storage duplicating technologies computers and the Internet research and development, and World War II World War II World War II, and research and development calculating machines Bush, Vannevar Endless Horizons 180 Bush, Vannevar Science: The Endless Frontier: A Report to the President Washington, D.C. Government Printing Office
1945
In this seminal work Bush attempted to justify long-term government support for scientific research in the post-World War II era. Of course, linking science to the metaphor of the frontier was a stroke of inspiration. The government had underwritten research and development in science in an unprecedented way during World War II, something that Bush oversaw. But whether that support would remain was questionable. Bush argued that “Government should accept new responsibilities for promoting the flow of new scientific knowledge and the development of scientific talent in our youth. These responsibilities are the proper concern of the Government, for they vitally affect our health, our jobs, and out national security. It is in keeping also with basic United States policy that the Government should foster the opening of new frontiers and this is the modern way to do it. For many years the Government has wisely supported research in the agricultural colleges and the benefits have been great.” The time had come, he maintained, to extend such support to other fields, especially medicine and the military. technology R & D research and development war war World War II science general studies research and development World War II, and research and development military communication scientific research and government support radar technology and society Bush, Vannevar Science: The Endless Frontier: A Report to the President 28160 Bushman, B. J. J. Cantor Media Ratings for Violence and Sex: Implications for Policy Makers and Parents [in press] American Psychologist
2003
58 130-41 The authors discuss what research has shown about the likely effects of large amounts of violence and sex in mass media and how this knowledge can be applied to rating entertainment. media research computers television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures computers and the Internet Internet, and ratings rating systems, and Internet video games, and ratings rating systems, and video games rating systems, and music music, and ratings rating systems, and television television, and rating system (U.S.) cable TV, and ratings rating systems, and cable TV V-chip V-chip, and ratings rating systems, and V-chip motion pictures and popular culture motion pictures, and rating system rating systems, and motion pictures rating systems, and children children, and ratings parents, and rating system (U.S.) rating systems, and parents violence, and ratings rating systems, and violence sex, and ratings rating systems, and violence Cantor, Joanne cable children Internet media violence motion pictures music pornography sex self-regulation video games violence sexuality J. Cantor Media Ratings for Violence and Sex: Implications for Policy Makers and Parents [in press] 28130 Bushman, Brad J. Craig A. Anderson Media Violence and the American Public: Scientific Facts Versus Media Misinformation American Psychologist
June/July 2001
56 6/7 477-89 See also: violence See also: sexuality The authors argue that despite the fact that there are hundreds of studies showing a correlation between violence in mass media and damaging social effects, and that there is a consensus among researchers on this issue, the press has reported a weak correlation and lack of consensus among researchers.
The authors write: "Fifty years of news coverage on the link between media violence and aggression have left the U. S. public confused. Typical news articles pit researchers and child advocates against entertainment industry representatives, frequently giving equal weight to the arguments of both sides. A comparison of news reports and scientific knowledge about media effects reveals a disturbing discontinuity: Over the past 50 years, the average news report has changed from claims of a weak link to a moderate link and then back to a weak link between media violence and aggression. However, since 1975, the scientific confidence and statistical magnitude of this link have been clearly positive and have consistently increased over time. Reasons for this discontinuity between news reports and the actual state of scientific knowledge include the vested interests of the news, a misapplied fairness doctrine in news reporting, and the failure of the research community to effectively argue the scientific case." syntheses (of research) media research democracy and media democracy press motion pictures meta-analyses media effects violence (see also: media violence) violence media effects violence media violence news and journalism censorship and ratings children news and journalism television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures social science research, and press coverage press coverage, and social science research violence, and press coverage journalism, and media violence critics journalism pornography Craig A. Anderson Media Violence and the American Public: Scientific Facts Versus Media Misinformation 28160 Bushman, Brad J. Joanne Cantor Media Ratings for Violence and Sex: Implications for Policy Makers and Parents [in press] American Psychologist
2003
See also: violence See also: sexuality The authors discuss what research has shown about the likely effects of large amounts of violence and sex in mass media and how this knowledge can be applied to rating entertainment. syntheses (of research) media research computers classification self-regulation CARA sexuality television, and V-chip sex censorship and ratings sound recording music motion pictures meta-analyses media effects violence (see also: media violence) violence media effects violence media violence Internet video games censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures computers and the Internet Internet, and rating system (U. S.) rating system (U. S.), and Internet video games, and rating system (U. S.) rating system (U. S.), and video games rating system (U. S.), and music music, and rating system (U. S.) rating system (U. S.), and television television, and rating system (U. S.) cable TV, and rating system (U. S.) rating system (U. S.), and cable TV V-chip V-chip, and rating system (U. S.) rating system (U. S.), and V-chip motion pictures and popular culture motion pictures, and rating system (U. S.) rating system (U. S.), and motion pictures rating system (U. S.), and children children, and rating system (U. S.) parents, and rating system (U. S.) rating system (U. S.), and parents violence, and rating system (U. S.) rating system (U. S.), and violence sex, and rating system (U. S.) rating system (U. S.), and violence cable pornography Joanne Cantor Media Ratings for Violence and Sex: Implications for Policy Makers and Parents [in press] 3450 Business Week High Tech is Low on Jobs Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
390-99 See also: office "Forecasts by the U.S. Bureau of Labor Statistics and Data Resources Inc. show clearly that high tech can't come near to replacing jobs lost in manufacturing because the sector is small and productivity is rising fast. Nearly every state and city in the U.S. has therefore embarked on a largely fruitless quest to create large numbers of high-tech jobs in their own versions of Silicon Valley. But some good is coming out it." This piece first appeared in Business Week (March 28, 1983). computers communication revolution second industrial revolution communication revolution microelectronics labor information technology computers and the Internet microelectronics revolution automation information technology, and industry labor, and automation labor labor, and new media labor, and computers Business Week High Tech is Low on Jobs 3370 Business Week Personal Computers Invade Offices Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
While an office revolution was underway when this piece first appeared in Business Week (Aug. 8, 1983), it had taken unexpected directions. Company executives were bewildered by the wide array of equipment being offered and hence postponed purchasing complete systems. Instead, they brought their personal computers to the office. computers labor communication revolution computers and the Internet computers, personal computers office, and information technology information technology computers and the Internet computers and society personal computers computers, personal information technology, and office communication revolution, and office communication revolution computers office, and computers office Business Week Personal Computers Invade Offices 3160 Business Week Software: The New Driving Force Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
27-44 This article discusses the computer software industry, a booming part of the economy that sets the pace for the information technology revolution. This piece appeared first in Business Week (Feb. 27, 1984). computers materials, and silicon silicon communication revolution computers and the Internet computers, and software communication revolution Silicon Valley computers, and consumers computers capitalism, and computers capitalism materials Business Week Software: The New Driving Force 5160 Business Week Telecommunications Liberalization Tom Forester, ed. The Information Technology Revolution Cambridge, MA MIT Press
1985
120-36 ; media effects See also: media convergence See also: mass media This piece originally appeared in Business Week (Oct. 24, 1983). “The convergence of computing and telecommunications has brought about the liberalization of the telecommunications industry and the deregulation of long-established PTT [Postal Telephone & Telegraph] monopolies. The resulting innovation explosion has in turned created a booming worldwide market for new telecommunications equipment.” computers post office presidents, and new media communication revolution non-USA Reagan, Ronald Reagan administration media computers and the Internet media convergence telecommunications telephones telegraph postal service global communication communication revolution Reagan administration, and telecommunications Business Week Telecommunications Liberalization 10990 Butcher, Lee Accidental Millionaire: The Rise and Fall of Steve Jobs at Apple Computer New York Paragon House
1988
A biography of Steven Jobs and history of Apple Computer with no notes or bibliography. computers materials, and silicon corporations corporations Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories silicon computers and the Internet biography Jobs, Steven Apple Computer IBM Sculley, John Silicon Valley Wozniak, Stephen materials Butcher, Lee Accidental Millionaire: The Rise and Fall of Steve Jobs at Apple Computer 2440 Butrica, Andrew J. Telegraphy and the Genesis of Electrical Engineering Institutions in France, 1845-1895" History and Technology
1987
3 4 365-80 This article examines the origins of electrical engineering in France and its connection to the telegraph. "The key figure in the development of French electrical engineering institutions prior to the 1890s was the State Telegraph Administration," Butrica writes. nationalism labor engineering electric lighting electrical engineering non-USA office office, and new media office France France, and telegraph telegraph telegraph, and electrical engineering electrical engineering, and telegraph telegraph, and France electricity electricity, and France electrical engineering, and France nationalism and communication nationalism, and telegraph France, and infrastructure infrastructure, and France infrastructure Butrica, Andrew J. Telegraphy and the Genesis of Electrical Engineering Institutions in France, 1845-1895" 41540 Butterfield, Roger Pictures in the Papers American Heritage Magazine
June 1962
13 4 9 pages This article provides a history of newspaper illustration beginning with the Illustrated London News in 1842. In that year the paper published the first "candid" picture of Queen Victoria. Some critics argued that the picture invaded the Queen's privacy, was unpatriotic, and maybe even illegal. Butterfield quotes William Wordsworth's sonnet "Illustrated Books and Newspapers," and the says that the pictorial press probably reached a peak during the 1880s and 1890s. Butterfield discusses James Gordon Bennett's New York Herald and the illustrations it used for Andrew Jackson's funeral. The article also covers other early illustrated publications including Gleason's..., Frank Leslie's Illustrated Newspaper, the Daily Graphic, Police Gazette, and the use of cartoons. There is also brief discussion of illustrations in Joseph Pulitzer's New York World, and William Randolph Hearst's New York Journal. The author says little about the role of photography, jumping the from the late nineteenth century to the early 1960s. wood engraving journalism words vs. images magazines, and photography images vs. words magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines illustrations, and newspapers illustrations, and magazines magazines, and illustrations newspapers, and illustration non-USA Great Britain Great Britain, and illustrated journalism non-USA, and illustrated journalism images vs. print advertising and public relations advertising, and newspapers newspapers, and advertising magazines, and advertising advertising, and magazines Great Britain, and advertising advertising, and Great Britain photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving privacy, and photography photography, and privacy privacy privacy, and news news, and privacy journalism, and privacy journalism, pictorial pictorial journalism Bennett, James Gordon, and illutration illustrations, and James Gordon Bennett advertising Bennett, James Gordon illustrations news Butterfield, Roger Pictures in the Papers 38760 Buxton, Edwin O. The Social Evil and Its Remedy American Journal of Politics
July 1893
3 39-50 The author of this article reveals an anti-urban, anti-modern bias and an admiration for Anthony Comstock. Boxton discusses a number of social evils plaguing society including "Sins committed in the name of pleasure, with an accompaniment of music and wine, and under the shadow of night where the trail of the serpent can easily be covered, attract little attention to their awful character and fearful results. It is the black plague of modern civilization. Yet it flourishes in all our great cities unmolested, and is permitted to grow luxuriant as the passion of many may require." (39) The author goes on to say that "No form of sin writes its language so quickly and indelibly as sensuality." (40)
Buxton argues that "the family is the integral part of the state," and that "Without the family there may be a horde but there can be no nation." (40) Social evil, especially prostitution, "discourages home-making by seducing men and women to sensual indulgence which disqualifies the poor dupes from the holy estate of matrimony." (40) The house of prostitution is especially deplorable but "Large sections of nearly all our great cities are given over to this vice. The loathsome and degrading French forms of the evil have lately been adopted. These houses, the moral ulcers of municipal life, are the objective points of attack." (40)
Buxton discusses various approaches to social evil -- a policy of "tacit consent" (40), methods of regulation, a license system, methods of suppression (40-43), and then turn to considering the "causes of the social evil." (43) Among the causes are (a) "violation of the hygienic laws (43-44); (b) "Artificial and stimulated life" (44); (c) "Impure literature" (44-45); and (d) "obscene pictures." (45) As for the artificial and stimulated life, much of it is tied to urban living and "the stifling dance house, the crowded theater, the sensuous opera, the beer-garden, saloon, and bawdy house received the inmates. Two articles of commerce are found in or near all these places -- liquor and lust. When passion is inflamed by the former and the judgment dethroned, modesty is stabbed and virtue destroyed." (44) As for impure literature, Buxton reveals himself to be an admirer of Anthony Comstock (44-45). Obscene pictures were apparently at every turn. "In thousands of places in all our large cities, displayed in shop-windows and saloons, may be seen illustrations of vile character. At all hours of the day and evening groups of men and boys are found eagerly feasting their eyes upon this savory dish of wickedness." (45)
Theater advertising -- billboards in color -- were a particular problem. "The display of theatrical bill-boards is no less an evil. The illustrations are nearly of life size, and with the addition of flesh tone make the appeal to the baser nature still stronger. [emphasis added] The advertising is so public that he, who would escape the debauch of imagination cannot. If the picture of the stage is such, what must the reality be upon which young men and women gaze, without blushing! Remove all obscenity in language and action from the stage, put actors in clothing suitable to a family parlor, the theater could not live a year. Exposure of the body in immodest attire; suggestions of the vile in language, look, and act; gross familiarity of the sexes upon the stage; these are the chief attractions of the modern theater. In other words, people spend money for the very purpose of inflaming passion!" (45) The author links the house of prostitution to the theater and other urban institutions. "So long as the shop-windows, bill-boards, and the stage continue to educate the beastly part of human nature, the house of ill-fame will be an essential feature of modern civilization. Inflammable material cannot be thrown upon a fire without flames appearing in some quarter." (46) [emphasis added] All these things serve to lead young boys astray.
Buxton calls for "organized virtue" (47) and see the church, the ballot-box and the school-house as lines of defense from social evil. "Excessive individualism prevails among good people. They hold themselves aloof from united action." (47) The author says there is a need for "a powerful national organization for the suppression of vice, with branches in every city and town...." (47)
As for women, "the abandoned, lewd woman does more than destroy life, she murders character," Buxton argues. (49) Lust and liquor have become too popular. "Government should make it easy to do right and hard to do wrong. We have faith in human nature, sinful though it be. Give the people a chance to be virtuous and they will be virtuous," the author concludes. (50) theater entertainment anti-theatrical prejudice censorship critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater religion religion, and theater theater, and religion women women, and theater theater, and women values values, and acting values, and women women, and values censorship and ratings censorship, and theater theater, and censorship actors acting actors, and status of theater, and bias against actors, and bias against acting, and women women, and acting entertainment, and immorality morality, and theater anti-theatrical bias dancing, and women women, and dancing newspapers Sunday newspapers, and theater advertising and public relations advertising, and values advertising, and theater advertising, and morality theater, and advertising modernity, and theater modernity theater, and modernity theater, and anti-urbanism posters, and color color, and theater posters color color, and immorality Comstock, Anthony censorship, and Anthony Comstock children and media children, and immoral pictures children, and theater billboards media effects, and color billboards modernity, and immorality modernity, and theater modernity, and urban life censorship advertising children media effects morality news news and journalism posters Buxton, Edwin O. The Social Evil and Its Remedy 28050 Byerly, Greg// Rich Rubin Pornography: The Conflict over Sexaully Explicit Materials in the United States: An Annotated Bibliography New York and London Garland Publishing, Inc.
1980
The contents of this work are divided into eight categories: books and dissertations; psychological articles; sociological articles; philosophical and religious articles; popular articles; government documents; legal articles; and court cases. sexuality pornography bibliographies bibliographies, annotated bibliographies, and pornography pornography, and bibliographies pornography, and law pornography, and sociology pornography, and social science pornography, and psychology pornography, and theses pornography, and religion pornography, and philosophy pornography, and government documents Byerly, Greg// Rich Rubin Pornography: The Conflict over Sexaully Explicit Materials in the United States: An Annotated Bibliography 2740 Bylinsky, Gene Here Comes the Second Computer Revolution Tom Forester, ed. and intro The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Cambridge, MA; and Oxford, Eng. MIT Press; and Blackwell Publisher
1980, 1981
3-15 This piece was the first full-length feature on the microelectronics revolution to appear in a nonspecialist publication. “In its impact, the microcomputer promises to rival its illustrious predecessors, the vacuum tube, the transistor, and the integrated-circuit logic chip," Bylinsky writes. The discussion by Everett Rogers and Judith K. Larsen in their book Silicon Valley Fever’s (1984)on the revolutionary impact of the microprocessor (invented in 1971) draws on this article. Bylinsky’s article first appeared in Fortune (Nov. 1975). computers microprocessing transistors, and integrated circuits values communication revolution second industrial revolution communication revolution materials materials computers communication revolution, and second industrial revolution values religion microelectronics computers and the Internet communication revolution microprocessors microelectronics vacuum tubes transistors integrated circuits second industrial revolution microelectronics revolution electronic media chips, computer computer chips Bylinsky, Gene Here Comes the Second Computer Revolution 2660 Bylinsky, Gene What’s Sexier and Speedier Than Silicon? Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
193-202 Science writer Bylinsky argues that “the strategic importance of the semiconductor industry can hardly be overestimated, so the arrival of new material for making chips will have major implications for manufacturer nations and user nations. The synthetic compound gallium arsenide is being used increasingly in certain types of chips and chip applications,” although critics are skeptical about its future application for chips. The growth of optoelectronics, though, is giving a significant boost to this material. This piece appeared originally in Fortune (June 24, 1985). computers materials, and silicon nationalism values materials materials computers values religion materials general studies computers and the Internet materials revolution optoelectronics electronic media, and optoelectronics chips, computer, gallium arsenide gallium arsenide nationalism and communication chips, computer computer chips electronic media silicon materials Bylinsky, Gene What’s Sexier and Speedier Than Silicon? 3340 Bylinsky, Gene with Alicia Hills Moore Flexible Manufacturing Systems Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
284-94 See also: office The authors argue that the next stage in automating factors is FMS, or flexible manufacturing systems. This development moves society in the direction of a workerless factory, something the Japanese appear to have the lead in. This piece appeared first in Fortune (Feb. 21, 1983). computers nationalism non-USA labor computers and the Internet computers and society Japan nationalism and communication automation labor, and automation artificial intelligence and biotechnology computers labor labor, and computers Bylinsky, Gene with Alicia Hills Moore Flexible Manufacturing Systems 7560 Byrnes, Mark E. Politics and Space: Image Making by NASA Westport, CT Praeger
1994
While this work does not have much on the technology of space communication, it does discuss the image-making efforts of NASA. “NASA has used three images -- nationalism, romanticism, and pragmatism -- to build political support over its history....Nationalist statements have emphasized that the space program should be supported because it is good for America as a nation.... Nationalism was NASA’s primary image during the late 1950s and into the 1960s.
“Romanticism has played to the emotional aspect of the human character. It has highlighted the excitement and adventure inherent in NASA’s activities and described how space exploration fulfills some basic human yearnings....NASA employed romanticism often during the middle to late 1960s.
“Pragmatism has emphasized that the space program produced practical benefits for all citizens, thus appealing to individuals’ material self-interest.... According to pragmatism, the space program stimulates technological advances, generates new products and techniques, delivers economic returns, enhances scientific knowledge, offers educational opportunities, and provides a space transportation system. NASA stress pragmatism throughout the 1970s and well into the 1980s.”
The book’s last chapter, “Transmitting the Images” talks about NASA’s use of the media and its effort to control the flow of information about the agency. National Aeronautics and Space Administration (NASA) nationalism photography advertising, and public relations space communication propaganda advertising war aeronautics and space communication NASA satellites nationalism and communication rocketry photography and visual communication transportation space communication, and romanticism public relations NASA, and public relations public relations, and NASA military communication Byrnes, Mark E. Politics and Space: Image Making by NASA 1390 Bätschmann, Oskar The Artist in the Modern World: The Conflict Between Market and Self-Expression Cologne DuMont Buchverlay
1997
The author writes: “The development in exhibitions from an annual event on a public holiday to the exclusive medium for the presentation of art, the emergence of the public and public criticism, and the orientation of artists to exhibition work, was the most decisive and consequential change in the art world since the Renaissance. Artists had to define, legitimate and finance their work in public competition with each other. Generally, the court artists were appointed to a position by contract, and the studio artists had contracts for commissions, stating the price. The patron could prove to be difficult, moody or a bad payer, and the court artist could also find himself at the mercy of advisers and intriguers. The studio artist had to adjust to the changing demands of patrons and the requirements of the market.
By contrast, the exhibition artist had to work “at his own risk, to be judged by an unknown recipient, who could not always be accused of ignorance and a one-sided view. To calculate or steer public reaction, which could vary between aggressive disdain and enthusiasm or even acclamation, new strategies had to be developed. The exhibition as a forum for rivalry and an arena where artists fought for recognition intensified competition between artists. To be successful the exhibition artist had to be the subject of public discussion, had to find access to the media and project an interesting image to accompany his works. He was and is forced to win from the exhibition-going public followers of like mind, media support, buyers and patrons; and if necessary he must go to court to defend his interests.
“The exhibitions immediately gave rise to the suspicion that artists could be corrupted by money, mass taste, cheap applause and the pressure to succeed in the competitive art world.” exhibitions photography media mass media photography and visual communication art exhibitions, and art mass media, and art capitalism, and art mass media, and culture artists, and market place self-expression, and market place capitalism art, and commercialism commercialism, and art art commercialization Bätschmann, Oskar The Artist in the Modern World: The Conflict Between Market and Self-Expression 32090 Cadegan, Una M. Guardians of Democracy or Cultural Storm Troopers? American Catholics and the Control of Popular Media, 1934-1966 Catholic Historical Review
April, 2001
87 2 252-82 Catholics, it should be said, adopted a more complex set of attitudes about movies and American culture after World War II. Whereas during the 1920s and 1930s they often were “almost exasperatingly certain about the rightness of their view of the world,” by the late 1950s, when it came to motion pictures and other forms of culture, Catholics assumed an attitude of “confident ambivalence” and believed the outlook was fitting for the world they lived in. This change in attitude reflected, in part, Cold War beliefs in the United States that associated censorship with Soviet communism and totalitarianism, both of which Catholics strongly opposed. As if to keep pace with changing attitudes among Catholics, the Legion of Decency became more flexible. It altered its classification scheme in 1957 to expand the films that adolescents could attend, and for the first time recommended films for Catholics. It soon abandoned its pledge requirements and changed its name to the National Catholic Office of Motion Pictures.
From the article's Abstract: "The writers examines the roles and strategies of the Legion of Decency and the National Organization for Decent Literature (NODL), two American Catholic organizations involved with the control of popular media. She maintains that although they were separate organizations, they both exemplify the transition in mid-century American Catholicism from 'innocence' to 'maturity,' from defensive complacency to confident ambivalence. Their strategies, she contends, were part of the means by which the Catholic community defined itself economically, socio-politically, religiously, and theologically. The Legion and the NODL ... were frequently motivated by their attempts to reconcile the traditional aspects of such traditions as Neo-Thomism and Mystical Body theology with the American traditions of empirical investigation and individual discernment. The organizations ... ultimately worked in some ways to reinforce dominant cultural values and in others to pose persistent challenges to those values." values Christianity Christianity papal encyclicals Pope Pius XI Pope Pius XII Pope Pius XII, and 1957 encyclical Miranda Prorsus, and Pope Pius II (1957) Catholic Church, and motion pictures censorship, and motion pictures motion pictures, and Catholic Church motion pictures, and censorship Christianity, and motion pictures motion pictures, and Christianity television motion pictures and popular culture motion pictures television, and Catholic Church Catholic Church, and television radio radio, and Catholic Church Catholic Church, and radio home, and television critics values, and television television, and values radio, and values home, and radio values, and radio motion pictures, and values values, and motion pictures Legion of Decency National Organization for Decent Literature Catholic Church censorship and ratings home censorship Cadegan, Una M. Guardians of Democracy or Cultural Storm Troopers? American Catholics and the Control of Popular Media, 1934-1966 4440 Calder, Nigel 1984 and Beyond New York Viking Press
1983, 1984
The author describes this work as follows: "A book that quotes and evaluates many past predictions about the 1980s, and looks to the decades ahead, is here cast in the form of a dialogue with a perfect retrieval system."
"The tin interlocutor is itself open to appraisal as a part of the foreseeable future. The quest for superhuman intelligence seems to stand on a par with the development of nuclear weapons, as a misapplication of scientific knowledge. The name O'Brien [the retrieval system] is ostensibly an acronym for Omniscient Being Re-interpreting Every Notation. A more sinister meaning emerges as the conversation proceeds, and links O'Brien's name with the writings of George Orwell, to whose percipience this book is an oblique tribute." (7-8) computers surveillance values law, and privacy law preservation archives history, and new media future and science fiction computers libraries libraries, and information storage history artificial intelligence and biotechnology computers and the Internet history, and computers progress privacy Orwell, George future 1984 information storage computers, and image of Calder, Nigel 1984 and Beyond 32620 Callenbach, Ernest and Albert Johnson The Danger Is Seduction: An Interview with Haskell Wexler Film Quarterly
Spring, 1968
21 3 10 Wexler was the cinematographer for such movies as Who's Afraid of Virginia Woolf? (1966), for which he won an Academy Award, and The Thomas Crowne Affair (1968). He was a veteran of cinema-verite and made civil rights and anti-Vietnam documentaries. One of his from Hollywood films was Stakeout on Dope Street (Warner Bros., 1958), and he also worked with filmmaker Roger Corman on the movie about racism, The Intruder (1962). motion pictures cameras cinematography Who's Afraid of Virginia Woolf? Thomas Crown Affair Callenbach, Ernest and Albert Johnson The Danger Is Seduction: An Interview with Haskell Wexler 37710 Calvert, Louis Actor and the Stage New York Times
March 9, 1919
46 This is a condensed version of an article Calvert did for Equity, the official publication of the Actors' Equity Association. Calvert says that actors too often have no sense of their responsibilities or of the stage's power for good or evil. "The stage excites massed emotions," he says. He notes, for example, how a performance of the "Merchant of Venice" flamed anti-Semitism. Calvert says that hard work is needed to make actors good craftsmen and he call for greater effort to uplife the theater. "We give our livess for the civilization of the world, and we give our money and our work to feed the starving, but we do not give even a crust or a cup of water to our Modern Art, without whose aid we could not, as actors, live." Jews censorship actors acting actors acting motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings anti-Semitism, and motion pictures motion pictures, and anti-Semitism religion values religion, and motion pictures values, and motion pictures motion pictures, and religion motion pictures, and Jews Jews, and motion pictures motion pictures, and values actors, and status of actors, and professionalism acting, and professionalism anti-Semitism Calvert, Louis Actor and the Stage 31990 Campbell, Angela J. Self-Regulation and the Media Federal Communications Law Journal
May, 1999
51 3 711-72 This article provides an overview of self regulation in radio, television, and advertising. For example, the National Association of Broadcasters (NAB) adopted a Television Code in 1951. It was based on the movie industry’s Production Code and the Radio Code that had emerged during the New Deal. The TV Code had its greatest impact on programs, movies broadcast on television, and commercials during the 1950s, 1960s, and into the 1970s. It relied heavily on complaints from viewers, although it never had total participation by all members of the TV industry. Overall, its enforcement was ineffectual. The punishment for violating the Code was that the offending station could not display the NAB’s “seal of good practice.” Few, if any, stations were denied the seal and only the rare viewer would have noticed even if they had been. After deregulation, the NAB discarded the Television Code in 1983. This article also discusses such topics as cigarette advertising and advertising for children.
From the article's Abstract: "Self-regulation has been portrayed as superior to government regulation for addressing problems of new media such as digital television and the Internet. The literature on self-regulation is reviewed to define what is meant by the term, to identify the purported advantages and disadvantages of self-regulation, and to identify the conditions needed for its success. The effectiveness of self-regulation is then analyzed by examining instances were self-regulation has been employed in connection with the media. It is concluded that self-regulation rarely lives up to the claims made for it, although in some cases, it has been useful as a supplement to government regulation. Five factors are identified that may account for the success or failure of self-regulation: 1. industry incentives, 2. the ability of government to regulate, 3. the uses of measurable standards, 4. public participation, and 5. industry structure." computers Federal Communications Commission (FCC) television motion pictures law censorship and ratings television, and censorship censorship, and television censorship, and motion pictures motion pictures, and censorship FCC FCC, and television television, and FCC television code censorship, and television code television, and TV code radio censorship, and radio radio, and censorship FCC, and radio radio, and FCC radio, and radio code censorship, and radio code self regulation censorship, and self regulation rating systems, and self regulation advertising and public relations self regulation, and advertising advertising, and self regulation digitization digitization, and self regulation self regulation, and digitization computers and the Internet Internet, and self regulation self regulation, and Internet censorship, and Internet Internet, and censorship advertising digital media regulation Internet censorship Campbell, Angela J. Self-Regulation and the Media 7750 Campbell-Kelly, Martin Computer: A History of the Information Machine New York Basic Books
1996
Sloan Technology Series This book is part of the Sloan Technology Series. It was written for a broad public and provides a good introduction to the history of computing. The book is divided into four sections. Section one deals with the way people handled computing before electronic computers. Chapter 1 shows that sophisticated information processing existed before the twentieth century. Chapter 2 treats the “origins of office machinery and the business machine industry.” Such leading firms in the modern computing industry as IBM started in the last decades of the nineteenth century and manufactured business machines. Between World War I and World II such companies were major innovators in the computing field. Chapter 3 discusses Charles Babbage’s efforts during the 1830s to build a calculating engine. Babbage failed but a century later IBM and Harvard University realized his dreams.
Sections two and three cover the period roughly from 1945 to 1980, and treats the creation and evolution of computers. Section two focuses on the invention of electronic computing during World War II through the 1960s when IBM established its dominance in this area. Chapter 4 describes the building of ENIAC during the war at the University of Pennsylvania and its successor, the EDVAC, which became the “blueprint” for subsequent computers up to the present. Chapter 5 discusses changes in the computer industry in which computers became more than mere instruments to make scientific or mathematical calculations and reached into the realm of data processing for businesses. Chapter 6 deals with the growth of the mainframe computer industry.
Section three “presents a selective history of some key computer innovations” between the end of World War II and the appearance of the first personal computers. Chapter 7 looks at the technologies of computing in real time (e.g., its use in airlines reservations and at supermarkets). Chapter 8 examines the evolution of software technology. Chapter 9 covers “key features of the computing environment at the end of the l960s: time-sharing, minicomputers, and microelectronics.” This chapter revises the notion that the change from using mainframes to personal computers came abruptly.
The last section covers the origins of personal computers and the Internet, and the new computing environment they have created. Chapter 10 covers events from the mid-1970s and the use of the first “hobby computers” to the arrival of the first personal computers by the end of the decade. Chapters 11 examines the environment of personal computers during the 1980s and the development of “user-friendly” software. Here the rise of Microsoft and other companies are discussed. The last chapter covers the Internet, and the relation between the World Wide Web and the information sciences. computers microprocessing time and timekeeping time labor communication revolution second industrial revolution communication revolution war World War II office, and information technology microelectronics information technology information processing Information Age computers and the Internet Babbage, Charles IBM information processing, and history of information technology, and office computing, before computers ENIAC World War II, and computers time computers, and airlines computers, and supermarkets transportation microelectronics microprocessors microelectronics revolution computers, personal software World Wide Web computers office Internet Campbell-Kelly, Martin Computer: A History of the Information Machine 5820 Campbell, Robert The Golden Years of Broadcasting: A Celebration of the First 50 Years of Radio and Television on NBC New York Scribner’s
1976
corporations corporations radio television NBC Campbell, Robert The Golden Years of Broadcasting: A Celebration of the First 50 Years of Radio and Television on NBC 36910 Canby, Vincent 'Adult Themes' Head for Screen: Many of Old Taboos Seen Rapidly Disappearing New York Times
Jan. 5, 1967
27 Canby writes that in the aftermath of the revised movie Production Code of 1966, "the movies, once the mass medium of entertainment, are going through a revolution that could remove all the old taboos concerning subject matter and treatment." Motion Picture Association of America (MPAA) classification MPAA self-regulation National Association of Theatre Owners (NATO) sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Nizer, Louis Valenti, Jack Canby, Vincent 'Adult Themes' Head for Screen: Many of Old Taboos Seen Rapidly Disappearing 36740 Canby, Vincent 'Alfie' May Speed Film Code Change: Abortion Sequence in British Import Challenges Taboo New York Times
July 19, 1966
33 This article notes that this movie, Alfiie, had an abortion (performed off-screen, but described vividly by one of the characters), in direct violation of the U. S. motion picture Production Code. Canby speculates that this film may push the MPAA and Jack Valenti to revise the Code. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Alfie Shurlock, Geoffrey Canby, Vincent 'Alfie' May Speed Film Code Change: Abortion Sequence in British Import Challenges Taboo 36750 Canby, Vincent Appeal by 'Alfie' Wins a Movie Code Certificate New York Times
Aug. 3, 1966
43 Canby explains that the British-made film, Alfie, has won a seal of approval from Hollywood's Production Code Administration, despite violating the Code's prohibition on treating abortion in films. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Alfie Shurlock, Geoffrey Canby, Vincent Appeal by 'Alfie' Wins a Movie Code Certificate 35830 Canby, Vincent 'Blow-Up' May Get New Code Review: Picture Shown May Differ from One Disapproved New York Times
Feb. 7 1967
After the MPAA revised the Production Code for a last time in 1966, Blow-Up was the first movie to test it. Geoffrey Shurlock, who was head of the PCA, objected to the movie’s scenes of intercourse and nudity, first viewed the movie in black-and-white. It was a color film, though, and contain a brief glimpse of pubic hair. Some censors felt that the color magnified the impact of the nudity. self-regulation sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality , news pornography motion pictures and popular culture motion pictures nudity motion pictures, and nudity Production Code, and nudity foreign films Production Code, and foreign films motion pictures, and sex motion pictures, and sex Shurlock, Geoffrey Production Code, and nudity nudity, and Production Code color motion pictures, and color sexuality sexuality, and color color, and sexuality motion pictures, and sexuality Production Code Production Code (motion pictures) Canby, Vincent 'Blow-Up' May Get New Code Review: Picture Shown May Differ from One Disapproved 19600 Canby, Vincent Czar of the Movie Business New York Times Magazine
April 23, 1967
38-39, 42, 44, 47, 49, 52, 57, 59 This article deals with Jack Valenti, the new president of the Motion Picture Association of America. Canby commented that there remained “about Valenti-in-action a good deal of the Houston huckster, tempered by the Valenti-the-small-town-boy-who-made-good-and-enjoys-every-minute-of-it.” The article gives a good deal of background on Valenti and the Motion Picture Association of America. It notes that Valenti, unlike Louis Nizer who had campaigned to be MPAA president, did not have a past connection to the Production Code. Valenti was much more willing to move the industry in new directions. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA self-regulation National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA Production Code, and decline of Production Code, and Jack Valenti Valenti, Jack, and Production Code Production Code Production Code (motion pictures) Canby, Vincent Czar of the Movie Business 36700 Canby, Vincent Film Trade Body May Elect Nizer New York Times
March 26, 1966
14 This article speculates that an attorney, Louis Nizer, who has represented many of the major studios in legal matters, will be chosen to be the new president of the Motion Picture Association of America. Ralph Hetzel, who had been an economist in the Truman administration, had filled the post on an interim basis since the death of Eric Johnston in August, 1963. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA self-regulation National Association of Theatre Owners (NATO) Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA Production Code, and decline of Production Code, and Jack Valenti Valenti, Jack, and Production Code ,news Hetzel, Ralph, and MPAA MPAA, and Ralph Hetzel Nizer, Louis MPAA, and Louis Nizer Production Code Production Code (motion pictures) Canby, Vincent Film Trade Body May Elect Nizer 36850 Canby, Vincent Filmmakers Show Less Fear of Catholic Office New York Times
Oct. 13, 1967
35 This article notes that even though the Catholic Church had condemned five movies, they were released under the movie industry's 1966 Production Code with a rating of "for mature audiences." The movies included Blow-Up, Hurry Sundown, The Penthouse, and Reflections in a Golden Eye. Motion Picture Association of America (MPAA) classification self-regulation National Association of Theatre Owners (NATO) sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and sexuality Shurlock, Geoffrey, and sexuality motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Catholic Church, and movie censorship motion pictures, and Catholic Church Legion of Decency motion pictures, and NCOMP motion pictures, and homosexuality Catholic Church values Christianity Canby, Vincent Filmmakers Show Less Fear of Catholic Office 18660 Canby, Vincent Films Exploiting Interest in Sex and Violence Find Growing Audience Here New York Times
Jan. 24, 1968
38C This article by New York Times film critic, Vincent Canby, discusses the growing audiences for movies with sex and violence. audiences self-regulation Production Code sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality exploitation circuit values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) sexuality values religion non-USA motion pictures and popular culture motion pictures nudity motion pictures, and nudity Production Code, and nudity foreign films Production Code, and foreign films motion pictures, and sex motion pictures, and sex theaters motion pictures, and porn theaters exploitation circuit motion pictures, and exploitation circuit Canby, Vincent Films Exploiting Interest in Sex and Violence Find Growing Audience Here 18680 Canby, Vincent For Better or Worse, Film Industry Begins Ratings New York Times
Nov. 1, 1968
In this article, Canby discusses the new rating system that the motion picture industry had just put into place. It replaced the Production Code. A clipping of this article can be found in the U. S. Senate Committee on Commerce Papers, RG 46, Sen 90A-E6, Box 53, National Archives I, Washington, D. C. Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality CARA Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) sexuality law censorship and rating system (U. S.) rating system (U. S.) censorship classification non-USA motion pictures and popular culture motion pictures nudity motion pictures, and nudity rating system (U. S.), and nudity foreign films rating system (U. S.), and foreign films motion pictures, and sex motion pictures, and sex X-rated films rating system (U. S.), and X-rating motion pictures, and X-rating CARA rating system (U. S.), and origin CARA, and origin Canby, Vincent For Better or Worse, Film Industry Begins Ratings 36900 Canby, Vincent 'I Am Curious (Yes)' New York Times
March 23, 1969
D1, D16 In discussing the controversial Swedish film I Am Curious - Yellow, film critic Canby says that “a revolution in movie mores of really stunning rapidity and effect” occurred in the United States since 1952 and the Miracle case. Motion Picture Association of America (MPAA) classification MPAA self-regulation National Association of Theatre Owners (NATO) sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality Burstyn v. Wilson Burstyn, Joseph CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Valenti, Jack sexuality motion pictures, and sexuality motion pictures, and violence violence values motion pictures, and values freedom Miracle case Canby, Vincent 'I Am Curious (Yes)' 36810 Canby, Vincent A New Movie Code Ends Some Taboos New York Times
Sept. 21, 1966
1, 42 This article discusses the new motion pictures Production Code, adopted in September, 1966. It gave the PCA more flexibility in determining what was permissible in movies, and for the first time established a classification scheme with a "for mature audiences only" category. Louis Nizer, Geoffrey Shurlock, and Jack Valenti are quoted on the Code. Motion Picture Association of America (MPAA) classification MPAA self-regulation National Association of Theatre Owners (NATO) sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Nizer, Louis Valenti, Jack Canby, Vincent A New Movie Code Ends Some Taboos 36790 Canby, Vincent New Production Code for Films Endorsed by Theater Owners New York Times
Oct. 1, 1966
34 Jack Valenti tells theater owners that the revised 1966 Production Coode "will unleash the creative man from artificial fetters." The National Association of Theater Owners (NATO) endorsed the new Code even though it had a provision they had long resisted -- a form of film classes called "suggested for mature audiences" designed to point out films inappropriate for those under 18. Motion Picture Association of America (MPAA) classification self-regulation National Association of Theatre Owners (NATO) sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Canby, Vincent New Production Code for Films Endorsed by Theater Owners 36760 Canby, Vincent Public Not Afraid of Big Bad 'Woolf' New York Times
June 25, 1966
20 This article notes that about 2,000 people attended the first two showings of Warner Bros.'s Who's Afraid of Virginia Woolf?, despite its controversial dialogue. Canby speculates that this film may push the MPAA and Jack Valenti to revise the motion picture Production Code so that "it will allow the public morality in films to reflect more accurately the state of private morality." classification self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Who's Afraid of Virginia Woolf? classification censorship and ratings Shurlock, Geoffrey Canby, Vincent Public Not Afraid of Big Bad 'Woolf' 31610 Canby, Vincent Talent Appeal Big with Yanks Variety
May 12, 1965
238 1 As restrictions were relaxed on American productions, foreign films that showed in the United States -- and American -financed) movies that had been filmed in foreign locations -- challenged the Production Code. [note that those after 1966 came after the Code was dead.] Some of them scored “handsome boxoffice returns,” film critic Vincent Canby notes in this article. self-regulation Hollywood motion pictures censorship and ratings foreign films sexuality motion pictures, and foreign films foreign films, and sexuality Hollywood, and subsidiaries Production Code, and foreign films censorship, breakdown of Production Code Production Code (motion pictures) censorship Canby, Vincent Talent Appeal Big with Yanks 36880 Canby, Vincent Valenti Disowns Movie Quotation: Hasn't Seen Bad One Since He Stopped Seeing Any New York Times
May 20, 1966
40 Jack Valenti, the new president of the MPAA, denies saying that "I don't ever remember seeing a bad movie," a statement attributed to him. He says that the he had not seen "any really bad movies recently." The article also says that Valenti intended to initiative MPAA policy, something that his predecessor Eric Johnston had been criticized for not doing. Motion Picture Association of America (MPAA) classification MPAA self-regulation National Association of Theatre Owners (NATO) sexuality sexuality MPAA motion pictures, and sexuality CARA , news motion pictures Production Code Production Code, 1966 Shurlock, Geoffrey television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Nizer, Louis Valenti, Jack Johnston, Eric Canby, Vincent Valenti Disowns Movie Quotation: Hasn't Seen Bad One Since He Stopped Seeing Any 36800 Canby, Vincent Valenti Facing First Film Crisis: Movie Association Refuses Seal to 'Virginia Woolf' New York Times
May 28, 1966
12 This article notes that Warner Bros. is threatening to withdraw from the MPAA because the PCA has refused to approve Who's Afraid of Virginia Woolf?, because of its strong language. The articles notes this brings to mind the reaction to an earlier film, The Man With the Golden Arm. classification self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Who's Afraid of Virginia Woolf? classification censorship and ratings Shurlock, Geoffrey Canby, Vincent Valenti Facing First Film Crisis: Movie Association Refuses Seal to 'Virginia Woolf' 36780 Canby, Vincent Valenti Suggests Classified Films: Asks a Change Producers Have Long Resisted New York Times
Aug. 18, 1966
27 Jack Valenti asks the National Association of Theatre Owners (NATO) to revised the Production Code and add a "suggested for mature audiences" classification for films inappropriate from those under 18. Theater owners and movie producers had resisted this form of classification believing that if it failed, it would give the state and local government increased leverage to pass censorship laws. Motion Picture Association of America (MPAA) classification MPAA self-regulation sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Who's Afraid of Virginia Woolf? Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification Valenti, Jack Canby, Vincent Valenti Suggests Classified Films: Asks a Change Producers Have Long Resisted 36770 Canby, Vincent 'Virginia Woolf' Given Code Seal: Industry's Censors Exempt Film from Speech Rules New York Times
June 11, 1966
46 This article says that the MPAA's appeals board over turned a decision by the industry Production Code Administration rejected Who's Afraid of Virginia Woolf? because it violated the Code's rules on profane language. It notes that only 18 months earlier, the appeal board had overturned another PCA rejection of The Pawnbroker, which violated the Code's ban on nudity. Motion Picture Association of America (MPAA) classification self-regulation sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Who's Afraid of Virginia Woolf? Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification Canby, Vincent 'Virginia Woolf' Given Code Seal: Industry's Censors Exempt Film from Speech Rules 20980 Canby, Vincent What Are We To Think of 'Deep Throat' New York Times
Jan. 21, 1973
2 1, 33 New York Times film critic Vincent Canby discusses the public reaction to the X-rated film, Deep Throat (1972), a film that was being shown in mainstream movie theaters. "For reasons that still baffle me, 'Deep Throat' became the one porno film in New York chic to see and to be seen at," Canby wrote. He went on to say that obscenity laws "are wrong but the film isn't worth fighting for." values sexuality pornography sexuality sexuality values obscenity law censorship and ratings censorship motion pictures and popular culture motion pictures X-rated films motion pictures, and pornography pornography, and motion pictures Playboy Penthouse obscenity, and pornography motion pictures, and obscenity obscenity, and motion pictures law, and pornography Deep Throat (1972) movie Knight, Arthur, and pornography pornography, and Arthur Knight Canby, Vincent What Are We To Think of 'Deep Throat' 11880 Canfora, Luciano translated by Martin Ryle The Vanished Library Berkeley University of California Press
1987, 1989
This brief, 197-page book raises questions about longevity of libraries and knowledge. “Surveying this series of foundations, refoundations and disasters, we follow a thread that links the various and mostly vain, efforts of the Hellenistic-Roman world to preserve its books,” the author writes. “Alexandria is the starting point and the prototype; its fate marks the advent of catastrophe, and is echoed in Pergamum, Antioch, Rome, Athens. At Byzantium there was to be one last reincarnation -- a palace library, once again, in the palaces of the emperor ... and the patriarch.
The great concentrations of books, usually found in the centres of power, were the main victims of these destructive outbreaks, ruinous attacks, sackings and fires. The libraries of Byzantium proved no exception to the rule. In consequence, what has come down to us is derived not from the great centres but from the ‘marginal’ locations, such as convents, and from scattered private copies.” preservation archives history, and new media history non-USA books, periodicals, newspapers books, and libraries information storage information storage, and Hellenistic-Roman world historical preservation libraries libraries, and Hellenistic-Roman world information storage information storage, and preservation books Canfora, Luciano translated by Martin Ryle The Vanished Library 28170 Cantor, Joanne "I'll Never Have a Clown in My House!" -- Frightening Movies and Enduring Emotional Memory See also: violence See also: sexuality Cantor, one of the leading researchers on the effects of violence and fear in mass entertainment, discusses the influence of horror movies, especially on children. She delivered this paper at the International Communication Association meeting, 2003. The essay was then in press at Politics Today. syntheses (of research) media research fear Poltergeist motion pictures meta-analyses media effects violence (see also: media violence) violence media effects violence media violence media effects censorship and ratings children television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures children, and fear fear, and media effects media effects, and fear social science research, and fear fear, and social science research fear, and Poltergeist fear, and Jaws Poltergeist, and children Jaws (the movie), and children fear, and children motion pictures, and fear television, and fear fear, and television fear, and motion pictures pornography Cantor, Joanne "I'll Never Have a Clown in My House!" -- Frightening Movies and Enduring Emotional Memory 28170 Cantor, Joanne "I'll Never Have a Clown in My House! -- Frightening Movies and Enduring Emotional Memory Poetics Today: International Journal for Theory and Analysis of Literature and Communication
2004
25 2 283-304 Cantor, one of the leading researchers on the effects of violence and fear in mass entertainment, discusses the influence of horror movies, especially on children. She delivered this paper at the International Communication Association meeting, 2003. media research fear television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures children, and fear fear, and media effects media effects, and fear social science research, and fear fear, and social science research fear, and Poltergeist fear, and Jaws Poltergeist, and children Jaws (the movie), and children fear, and children motion pictures, and fear television, and fear fear, and television fear, and motion pictures children media violence motion pictures pornography violence Poltergeist Cantor, Joanne "I'll Never Have a Clown in My House! -- Frightening Movies and Enduring Emotional Memory 28180 Cantor, Joanne "Mommy, I'm Scared": How TV and Movies Frighten Children and What We Can Do to Protect Them New York Harcourt Brace & Company
1998
See also: violence See also: sexuality This book is by one of the leading scholars of media effects, especially the effects of motion picture and television violence and horror. Here Cantor is looking at fear research, an area that communication researchers have begun to develop – this in addition to an already substantial body of empirical research on the influence of media violence. Cantor examines the reactions of children to such movies as Jaws and Poltergeist and maintains that such films may have long-lasting and damaging effects. syntheses (of research) media research fear Poltergeist motion pictures meta-analyses media effects violence (see also: media violence) violence media effects violence media violence media effects censorship and ratings children television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures children, and fear fear, and media effects media effects, and fear social science research, and fear fear, and social science research fear, and Poltergeist fear, and Jaws Poltergeist, and children Jaws (the movie), and children fear, and children motion pictures, and fear television, and fear fear, and television fear, and motion pictures motion pictures and popular culture motion pictures, and fear motion pictures, and media effects motion pictures, and violence children, and motion pictures children, and horror films children, and violent movies children and violence pornography Cantor, Joanne "Mommy, I'm Scared": How TV and Movies Frighten Children and What We Can Do to Protect Them 27130 Cantor, Joanne Ratings for Program Content: The Role of Research Findings Annals of the American Academy of Political and Social Science
May, 1998
557 54-69 See also: violence See also: sexuality This article is by one of the leading scholars of media effects, especially the effects of motion picture and television violence and horror. Here she discusses how ratings systems can be made more effective by using research on media effects. Motion Picture Association of America (MPAA) classification MPAA self-regulation CARA television, and V-chip Valenti, Jack censorship and ratings motion pictures media effects media violence violence censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification media effects violence, and media violence, and children children, and media children, and media violence violence, and research television television, and media effects media effects, and television television, and motion pictures motion pictures, and media effects motion pictures and popular culture motion pictures, and violence rating system (U. S.), and controversies rating system (U. S.), and television television, and rating system (U. S.) rating system (U. S.), and research V-chip Valenti, Jack, and television rating system (U. S.) television rating system (U. S.), and Jack Valenti Cantor, Joanne Ratings for Program Content: The Role of Research Findings 25820 Cantor, Joanne Statement Hearings, "Television Ratings System," Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, First Session, pp. 159-63
(Feb. 27, 1997)
Feb. 27, 1997 159-63 Washington, D.C.: Government Printing Office, 1997 This testimony is by one of the leading scholars of media effects, especially the effects of motion picture and television violence and horror. Here Cantor supported calls for a rating system for television programs. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack social science research censorship and ratings rating system (U.S.) rating system (U. S.) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects media violence government censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship television motion pictures and popular culture motion pictures rating system (U. S.), and television television, and rating system (U. S.) classification, and television television, and classification motion pictures, and rating system (U.S.) television, and censorship censorship, and television Valenti, Jack, and Congress Valenti, Jack, and TV rating system (U.S.) children, and media children television, and Congress violence violence, and mass media violence, and television violence, and motion picture violence, and Jack Valenti hearings (U.S.) MPAA, and public relations MPAA, and television, new media effects social science research, and violence social science research, and TV violence rating system (U. S.), and critics violence sexuality Cantor, Joanne Statement 26900 Cantor, Joanne Kristen Harrison Marina Krcmar Ratings and Advisories for Television Programming: University of Wisconsin, Madison Study National Television Violence Study: Executive Summary, 1994-1995 Studio City, CA Mediascope, Inc.
[1996]
41-47 See also: violence See also: sexuality The authors evaluate the effectiveness of rating systems in light of a study done at the University of Wisconsin, Madison. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA CARA Classification and Rating Administration (CARA) Cantor, Joanne National Association of Theatre Owners (NATO) Surgeon General social science research NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures media effects media violence censorship and ratings children television motion pictures and popular culture media effects television, and violence motion pictures, and violence media effects, and violence social science research, and violence Surgeon General's Report (1972) Donnerstein, Edward Cantor, Joanne, reports MPAA ratings, and television MPAA ratings, and critics television, and rating system (U. S.) children, and media censorship and ratings Marina Krcmar Ratings and Advisories for Television Programming: University of Wisconsin, Madison Study 25830 Cantor, Joanne Marina Krcmar Ratings and Advisories: Implications for the New Rating System for Television [June 28-29, 1996] Hearings, "Television Ratings System," Hearings before the Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, First Session
(Feb. 27, 1997)
164-205 Washington, D.C.: U. S. Government Printing Office, 1977 This piece discussing communication research on media effects and its implications for rating systems was presented to this U.S. Senate hearing investigating in early 1997 the need for a television rating system. The television industry adopted a rating plan later that year. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack social science research censorship and ratings rating system (U.S.) rating system (U. S.) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects media violence government censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship television motion pictures and popular culture motion pictures rating system (U. S.), and television television, and rating system (U. S.) classification, and television television, and classification motion pictures, and rating system (U.S.) television, and censorship censorship, and television Valenti, Jack, and Congress Valenti, Jack, and TV rating system (U.S.) children, and media children television, and Congress violence violence, and mass media violence, and television violence, and motion picture violence, and Jack Valenti hearings (U.S.) MPAA, and public relations MPAA, and television, new media effects social science research, and violence social science research, and TV violence sexuality Marina Krcmar Ratings and Advisories: Implications for the New Rating System for Television [June 28-29, 1996] 1830 Cantril, Hadley Invasion From Mars: A Study in the Psychology of Panic Princeton Princeton University Press
1940
See also: violence See also: sexuality Cantril examined public reaction to Orson Welles’ 1938 radio program “War of the Worlds,” a program that cased many people to panic. This work is an example of an early effort to measure the impact of radio. Long after the broadcast, people talked about it and newspapers ran stories about the shock of terror. A poll taken by the American Institute of Public Opinion found that about twelve percent of the people said they listened to the show. Cantril estimated that approximately 9,000,000 Americans heard the broadcast. "The panic was clearly a nationwide reaction. The figures dictate the percentage of those who heard the broadcast as a news report and were frightened." In terms of regional averages all but the northeast had more than 69 percent of those polled believed the broadcast was real. In this south, more than 80 percent believed the broadcast was a news report – the highest in the nation. (58)
--Amanda Novak fear sensationalism public relations advertising propaganda journalism media effects news and journalism radio fear, and radio media effects media effects, and fear radio, and fear radio, and propaganda propaganda, and radio War of the Worlds (1938) Welles, Orson Wells, H. G. Novak, Amanda news, and radio news, and sensationalism sensationalism, and radio sensationalism, and news news fear, and media effects fear, and media effects public relations advertising and public relations Cantril, Hadley Invasion From Mars: A Study in the Psychology of Panic 10140 Carbonara, Corey Patrick A Historical Perspective of Management, Technology, and Innovation in the American Television Industry University of Texas, Austin
1989
569 pp. A 569-page Ph. D. thesis. See DAI-A 51/02, p. 330, Aug. 1990. television television, and new technology Carbonara, Corey Patrick A Historical Perspective of Management, Technology, and Innovation in the American Television Industry 190 Carey, James W. Communication as Culture: Essays on Media and Society Boston Unwin Hyman
1989
Four essays in this book are of special interest. They are: “The Mythos of the Electronic Revolution” (with John J. Quirk); “Space, Time, and Communications: A Tribute to Harold Innis”; “The History of the Future” (with John J. Quirk); and “Technology and Ideology: The Case of the Telegraph.”

Carey argues that there are two views in communication research, one emphasizing transmission, the other ritual. Until recently, the research in mass communication emphasized effects but gave less consideration to the ritual view. The whole picture needs to be studied if communication phenomena are to be understood.
In a ritual definition, this work contends, communication is linked to terms such as ‘sharing,’ ‘participation,’ ‘association,’ ‘fellowship,’ and ‘the possession of a common faith.’ This definition exploits the ancient identity and common roots of the terms ‘commonness,’ ‘communion,’ ‘community,’ and ‘communication.’ A ritual view of communication is directed not toward the extension of message in space but toward the maintenance of society in time; not the act of imparting information but the representation of shared beliefs.” ...
“If one examines a newspaper under a transmission view of communication, one sees the medium as an instrument for disseminating news and knowledge, sometimes divertissement, in larger and larger packages over greater distances. Questions arise as to the effects of this on audiences....”
“A ritual view of communication will focus on a different range of problems in examining a newspaper. It will, for example, view reading a newspaper less as sending or gaining information and more as attending a mass, a situation in which nothing new is learned but in which a particular view of world is portrayed and confirmed. News reading, and writing, is a ritual act and moreover a dramatic one.... Moreover, as readers make their way through the paper, they engage in a continual shift of roles or of dramatic focus. A story on the monetary crisis salutes them as American patriots fighting those ancient enemies Germany and Japan... The model here is not that of information acquisition, though such acquisition occurs, but of dramatic action in which the reader joins a world of contending forces as an observer at a play.”
– Doobo Shim technology Chicago, IL time and timekeeping time technology and society preservation communication revolution history, and new media future and science fiction news and journalism geography history general studies Innis, Harold telegraph technology and ideology space (spatial) time myth communication revolution, and myth of future history, and future critics communication revolution Shim, Doobo community Chicago School newspapers communication, ritual democracy news Carey, James W. Communication as Culture: Essays on Media and Society 210 Carey, James W. The Internet and the End of the National Communication System: Uncertain Predictions of an Uncertain Future Journalism & Mass Communication Quarterly
Spring, 1998
75 1 28-34 Although the title suggests this piece will deal mostly with the Internet, the best part of it deals with the development of a national communications network that emerged during the 1890s, if not before.
“Roughly a hundred years ago the modern era of communication begins. A precise date is unnecessary but the decade of the 1890s can serve as the approximate moment when, in the United States, space and time were enclosed, when it became possible to think of the nation as everywhere running on the same clock of awareness and existing within a homogeneous national space. This ‘communications revolution,’ presaged by the growth of the telegraph and the penny press in the decades before and after the Civil War, decisively began in the 1890s with the birth of the national magazine; the development of the modern mass, urban newspapers; the domination of news dissemination by the wire services; and the creation of early, primitive forms of electronic communication. Together these instruments constituted the infrastructure of a nationwide system of signaling tied to a largely local network of telephony. By the 1920s, the dominant tendencies of this revolution were clear, although they continued to work themselves out even into the 1970s.”
“Since the late 1970s, we have been undergoing a similar communications revolution but one whose scalar dynamic is at the global rather than the national level, a revolution producing in the words of the former chairman of Citicorp, ‘the twilight of sovereignty.’...”
“The precise dating of the shift from a modern to a postmodern organization of communication can be roughly set in the 1970s when the combination of cable and satellite undercut the network system on which the national hegemony of communication was built. The Internet represents a further development in the integration of this complex of technologies that have withdrawn the coordinates of time and space and with it categories of human identity and structure of social relations.” computers nationalism space (spatial) and communication aeronautics and space communication time and timekeeping time labor communication revolution news and journalism books, periodicals, newspapers journalism communication revolution, and second industrial revolution news and journalism non-USA office office, and new media office geography news general studies nationalism and communication aeronautics and space (spatial) communication communication revolution space (spatial) time telegraph telephones magazines newspapers wire services electronic media infrastructure television, and cable satellites Internet cable television, and cable computers and the Internet television books, periodicals, newspapers global communication second industrial revolution twilight of authority critics cable postmodernism satellites magazines, national nationalism, and cable nationalism, and satellites Carey, James W. The Internet and the End of the National Communication System: Uncertain Predictions of an Uncertain Future 34580 Carey, James W. Introduction to the Rowman & Littlefield Edition Harold A. Innis Changing Concepts of Time Lanham, MD Rowman & Littlefield Publishers, Inc.
2004
vii-xx In this Introduction to this new edition of Harold A. Innis's book, Carey sets the Canadian political economist's work into historical context. He discusses Innis's participation in a "Values Discussion Group" in 1949 with other University of Toronto faculty that included Marshall McLuhan. With regard to the idea of monopoly of knowledge, a theme in Innis's work, Carey writes: "those in political power exercised a monopoly of knowledge over the public domain. They were exclusively present-minded, seeking the satisfaction of their own interests, driven by shortsighted hatred and desires for revenge that they systematically implanted and exploited in public discourse. Power was indifferent to the long run and the larger interests of humankind. The voice of the scholar was silenced or, even worse, co-opted by power into a tool of the state. This monopoly of knowledge was founded on the media of print and broadcast, which reinforced the tendency to live exclusively in the present, in a world defined by the news cycle: the day or increasingly the hour or quarter-hour. We are kept waiting for the news as a substitute for participation in politics. The temporarl horizon collapsed into the present, and forethought, planning for the future, thinking in terms of posterity, became obsolete." (xv) nationalism time and timekeeping writing time history and new media preservation power history information storage history, and new media non-USA history Innis, Harold McLuhan, Marshall political economy present mindedness history, break with communication, and empire nationalism and communication Innis, Harold, and nationalism nationalism, and Harold Innis time space (spatial) power, and temporal bias power, and spactial bias alphabet, and technology writing, and technology alphabet history, and present mindedness Wiener, Norbert military communication news and journalism Great Britain Canada Carey, James W. Introduction to the Rowman & Littlefield Edition 200 Carey, James W. ed. Media, Myths, and Narratives: Television and the Press Newbury Park, CA Sage
1988
In his Introduction to this anthology, Carey writes: “The essays in this volume attempt two things: to elucidate concepts such as myth, narrative, and story, and, then, to apply them to specific phenomena and episodes in televisions and the press.”
Among the essays in this volume are: Roger Silverstone, “Television Myth and Culture,” pp. 20-48; Thomas H. Zynda, “The Mary Tyler Moore Show and the Transformation of the Situation Comedy,” pp. 126-45; and Michael Cornfield, “The Watergate Audience: Parsing the Powers of the Press,” pp. 180-204. values democracy and media democracy journalism news and journalism news and journalism values press news general studies myth critics values, and media television press, and narrative news, and narrative news, and myth press, and myth television, and press journalism, and television journalism Carey, James W. ed. Media, Myths, and Narratives: Television and the Press 28910 Carlat, Louis 'A Cleanser for the Mind': Marketing Radio Receivers for the American Home, 1922-1932 Roger Horowitz and Arwen Mohnun, eds. His and Hers: Gender, Consumption, and Technology Charlottesville University of Virginia Press
1998
This chapter, based on a paper presented at an April, 1994, conference on gender and technology at the Hagley Library in Wilmington, Delaware, seeks to outline advertising strategies employed by RCA and other radio manufactures as they marketed radio receivers for the home market in the 1920s and early 1930s. Carlat argues that gender played a deciding factor in both the physical appearance of radio hardware and in the appeals evident in advertisements from the period. Radio in the 1920s underwent a “transition from male toy to a component of domestic space,” which required the “recasting of radio hardware as a feminine object and listening as a feminine activity.” Part of this transition involve repositioning the radio as an elegant and practical piece of home furnishing, rather than an ugly and erratic contraption that men and boys tinkered with in basements and garages. New radio sets on the market in the 1920s were artfully designed to reflect contemporary styles and were engineered to be as simple to use as turning a single knob, which reflects in many ways the image of the female consumer as motivated by form over function and unable to grasp the workings of anything complicated or mechanical.
As Carlat observes, ads for radios in the 1930s were pitched to the more affluent consumer, who was both more likely to be able to afford the “new luxury” and also served as trend-setters in many communities. Perhaps more interesting is Carlat’s claim that radio advertisements were directed at both men and women. Due to the relatively high cost, the purchase of a radio set was seen as a man’s decision, something the woman would not be willing to purchase on her own. Therefore radio ads had to appeal to women in the sense that they created demand among those who controlled the domestic space and also to the men who controlled the household finances. This is described as “cultivating female users as a route to the wallets of male purchasers.”
The chapter is based largely on magazine advertisements as primary sources and a smattering of the secondary literature on radio and advertising history. Much of this material was taken from Carlat’s PhD dissertation on classical music and radio during the 1920s and 1930s.

-- Rob Rabe Rabe, Rob advertising and public relations radio advertising, and radio radio, and advertising women women, and radio radio, and women home and new media radio, and home home, and radio advertising home Carlat, Louis 'A Cleanser for the Mind': Marketing Radio Receivers for the American Home, 1922-1932 1460 Carlebach, Michael L. The Origins of Photojournalism in America Washington, D. C. Smithsonian Institution Press
1992
Carlebach describes the tremendous increase and diffusion of photographs in American between 1839 (the year Daguerre’s invention was announced) and 1880. He notes that “long before the establishment of mass-circulation picture magazines like Life, Look, and Colliers in the 1930s, even before the invention of the halftone process and rotogravure printing press in the 1880s, photographs were used to inform the public about events, people, and places in the news.” Often pictures were displayed crudely, sometimes even pasted into books and magazines. “Most often, however, artists copied photographs, and they were printed in magazines, books and newspapers as woodcuts or steel engravings; often, only the caption suggested their photographic origin. In addition, early photographic methods made it difficult to record fast-moving events or unposed human activity. Until hand-held cameras and roll film revolutionized photography late in the century, photographers in America performed most camera work indoors, in studios, under conditions they rigidly controlled.”
Carlebach says that the “idea that photographs could be printed with words, even crudely printed with words, was epochal and led to fundamental changes in the way information was gathered and disseminated to the public. The combination of text and photographs is, indeed, the guiding principle and single most important characteristic of photojournalism. Wilson Hicks, the redoubtable editor of Life magazine from 1937 to 1950, said as much in his classic study, Words and Pictures, published in 1952. He rightly contends that the basic unit of photojournalism is not the gritty hard-news picture standing alone, but photographs and text printed together. In this informational mix, picture content matters less than the manner in which the picture is used. Photojournalism does not consist exclusively of those familiar, powerful, and persuasive images of accident and mayhem, death and destruction; its content is really as varied as journalism itself. In photojournalism, words that provide a context for the photograph are vital; so, too, is the publication of the picture.
“The ability of photographs to inform and persuade a mass audience is based upon the public’s belief in their infallibility and objectivity. In mid-nineteenth-century America, the photographic process was understood to rely less upon the imagination of the photographer than on the mute precision of solar energy. Photography was a more perfect art not because photographers were more artistic, but because their product was created by light itself. ‘No man quarrels with his shadow,’ wrote Ralph Waldo Emerson more than a century ago, ‘nor will he with his miniature when the sun was the painter. Here is no interference, and the distortions are not the blunders of an artist.’" photography print magazines news and journalism books, periodicals, newspapers news journalism printing photography and visual communication newspapers news magazines photography and visual communication photojournalism newspapers, and photography newspapers, and halftones newspapers, and woodcuts newspapers, and steel engravings photography, and hand-held cameras photography, and roll film books, periodicals, newspapers books, and woodcuts books, and photography books, and halftones magazines, and photography magazines, and halftones magazines, and woodcuts printing, and rotogravure printing, and woodcuts prints books, periodicals, newspapers newspapers books magazines newspapers, and photographs photography, and news news, and photography Carlebach, Michael L. The Origins of Photojournalism in America 13030 Carlen, Claudia IHM The Papal Encyclicals, 1903-1939 Raleigh McGrath Publishing Company, a Consortium Book
1981
3 This, the third volume in a series, contains papal encyclicals including Pope Pius XI's 1936 encyclical on motion pictures. values Christianity values archives Pope Pius XI motion pictures values religion Catholic Church non-USA Pope Pius XI, and 1936 encyclical Catholic Church Catholic Church, and motion pictures motion pictures, and Catholic Church Christianity, and motion pictures motion pictures, and Christianity Carlen, Claudia IHM The Papal Encyclicals, 1903-1939 20780 Carlen, Claudia IHM The Papal Encyclicals, 1939-1958 Raleigh, N. C. McGrath Publishing Company, a Consortium Book
1981
4 This, the fourth volume in a series, contains the Vatican's response to many issues including those raised by modern communications. This volume, for examples, has Pope Pius XII's 1957 encyclical dealing the motion pictures, radio, and television. values Christianity values archives motion pictures values religion Catholic Church non-USA Pope Pius XII, and 1957 encyclical Catholic Church Catholic Church, and motion pictures motion pictures, and Catholic Church Christianity, and motion pictures motion pictures, and Christianity Catholic Church, and modern communications Pope Pius XII Carlen, Claudia IHM The Papal Encyclicals, 1939-1958 20770 Carlen, Claudia IHM The Papal Encyclicals, 1958-1981 Raleigh, N. C. McGrath Publishing Company, a Consortium Book
1981
5 This, the fifth volume in a series, has the Vatican's response to many issues including the problems posed by modern communications. This volume contains, for examples, Pope John XXIII 1959 encyclical and Pope Paul VI's 1968 encyclical. values Christianity values archives motion pictures values religion Catholic Church non-USA Catholic Church Catholic Church, and motion pictures motion pictures, and Catholic Church Christianity, and motion pictures motion pictures, and Christianity Catholic Church, and modern communications Pope John XXIII, and 1959 encyclical Pope Paul VI, and 1968 encyclical Pope John XXIII Pope Paul VI Carlen, Claudia IHM The Papal Encyclicals, 1958-1981 28380 Carlen, Claudia IHM Papal Pronouncements: A Guide: 1740-1978: Volume I: Benedict XIV to Paul VI Ann Arbor, MI Pierian Press
1990
This work offers brief summaries of Papal pronouncements from 1740 to 1978, some of which pertain to communication. values Christianity References, Statistics, Timelines, Maps values values Catholic Church critics values religion, and communication Catholic Church, and communication bibliographies bibliographies, and Papal Pronouncements bibliographies, annotated reference works religion Carlen, Claudia IHM Papal Pronouncements: A Guide: 1740-1978: Volume I: Benedict XIV to Paul VI 5630 Carlson, Chester F. History of Electrostatic Recording John H. Dessauer and Harold E. Clark, eds. Xerography and Related Processes London and New York Focal Press
1965
15-49 Carlson was the primary inventor of electrostatic recording. His essay deals in a straightforward manner with the scientific developments over time. Pages 41-49 concern “Recent Developments, 1950-1962.” Carlson provides an interesting look at how this process was viewed just as it was beginning to gain widespread use. duplicating technologies duplicating technologies photocopying electrostatic recording Carlson, Chester photocopying, and history of Carlson, Chester F. History of Electrostatic Recording 28200 Carlsson, Ulla and Cecilia von Feilitzen eds. Children and Media Violence: Yearbook from the UNESCO International Clearinghouse on Children and Violence on the Screen Göteborg, Sweden UNESCO International Clearinghouse on Children and Violence on the Screen
1998
This work, published by UNESCO, pulls together research that has been done on media effects relating to children and violence in mass media. computers children UNESCO social science research motion pictures media effects violence (see also: media violence) violence media effects violence media violence media effects Internet video games computers censorship and ratings non-USA television motion pictures and popular culture media violence, global television, and media violence media violence, and television motion pictures, and media violence media violence, and motion pictures children, and media violence media violence, and children children media effects, and violence violence, and media effects media effects, and children children, and media effects social science research, and media violence media violence, and social science research Japan Japan, and media violence Australia, and media violence Australia New Zealand New Zealand, and media violence Israel Israel, and media violence Europe Europe, and media violence Argentina Argentina, and media violence UNESCO, and media violence media violence, and UNESCO Asia Asia, and media violence China China, and media violence South Africa South Africa, and media violence Flanders Flanders, and media violence computers and the Internet computers, and media violence Internet, and media violence Denmark Denmark, and media violence France France, and media violence Brazil Brazil, and media violence Senegal Senegal, and media violence United Nations United Nations, and media violence video games, and children children, and video games video games, and media violence media violence, and video games UNESCO, and television children, and media Carlsson, Ulla and Cecilia von Feilitzen eds. Children and Media Violence: Yearbook from the UNESCO International Clearinghouse on Children and Violence on the Screen 36250 Carmen, Ira H. Movies, Censorship and the Law Ann Arbor University of Michigan Press
1966
This book offers an informative account of motion picture censorship from early in the twentieth century until the mid-1960s. It discusses the 1952 Burstyn v. Wilson case in which films gained freedom under the First and Fourteenth Amendments, and the effect that that and other Supreme Court cases had on state a local censorship. The work is especially good in covers state and local censorship. Among the states covered are Lousiana, Florida, Ohio, Pennsylvania, Massachusetts, New York, Maryland, Virginia, and Kansas. Local censorship boards include discusses of Chicago, Detroit, Memphiss, and Atlanta. Burstyn v. Wilson Burstyn, Joseph censorship and ratings motion pictures motion pictures, and censorship motion pictures, and foreign films motion pictures, and television audiences motion pictures, and audiences law law, and film censorship classification, and motion pictures motion pictures, and classification motion pictures, and First Amendment Miracle case motion pictures, and state censorship law, and state film censorship law, and local film censorship motion pictures, and local censorship Carmen, Ira H. Movies, Censorship and the Law 1220 Carr, Harry Blowing Up Movie Town Los Angeles Times
July 18, 1913
III 1 This article discusses movie special effects. The article's subtitle reads: "Wonderful Moving Picture Reel Played. A Complete Placer Mine Dynamited. Rex Beach’s Novel, ‘The Spoilers’." sensationalism motion pictures motion pictures, and sensationalism sensationalism, and motion pictures cameras cameras, and sensationalism sensationalism, and cameras special effects, and motion pictures special effects motion pictures, and special effects violence violence, and motion pictures motion pictures, and violence Carr, Harry Blowing Up Movie Town 40880 Carroll, Noël Film/Mind Analogies: The Case of Hugo Munsterberg Journal of Aesthetics and Art Criticism
Summer 1988
46 4 489-99 psychology Münsterberg, Hugo Munsterberg, Hugo history fame ethics children celebrity art photography and visual communication photography photography, and new art form photography, and psychology Münsterberg, Hugo photography, and Hugo Münsterberg Munsterberg, Hugo, and photography photography, and art art, and photography values ethics photography, and values photography, and ethics ethics, and photography values, and photography photography, as magic modernity photography, and modernity modernity, and photography new way of seeing new way of seeing, and photography photography, and time and space critics critics, and modernity Munsterberg, Hugo motion pictures motion pictures, and Hugo Münsterberg Münsterberg, Hugo, and motion pictures new way of seeing, and motion pictures motion pictures, and new way of seeing actors acting photography photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars motion pictures, and special effects acting, and facial expression acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting media effects motion pictures, and media effects media effects, and motion pictures history and new media history, and motion pictures motion pictures, and history pictorial journalism news, and pictorial journalism acting, and close-ups cameras, and close-ups motion pictures, and stereoscope motion pictures, and 3-D 3-D, and motion pictures audiences media effects, and audiences audiences, and media effects motion pictures, and audiences audiences, and motion pictures children and media media effects, and children children, and media effects motion pictures, and children children, and motion pictures censorship and ratings motion pictures, and censorship censorship, and motion pictures Münsterberg, Hugo, and censorship censorship, and Hugo Münsterberg media literacy media literacy, and motion pictures motion pictures, and media literacy media literacy, and Hugo Münsterberg Münsterberg, Hugo, and media literary motion pictures, and psychology psychology, and motion pictures Münsterberg, Hugo, and psychology Münsterberg, Hugo, and art motion pictures, as art 3-D censorship news Carroll, Noël Film/Mind Analogies: The Case of Hugo Munsterberg 1870 Carter, Ian Railways and Culture in Britain: The Epitome of Modernity Manchester Manchester University Press
2001
As the title suggests, this work examines the railway as an image in culture, particularly in terms of literature and print. The author seeks to understand the railway as a symbol for modernity by measuring its impact on culture. The works of many Victorian novelists and artists, from George Cruikshanks and J.M.W. Turner to Charles Dickens are cited in this argument. Naturally, source material includes the works of these artists, along with historical, sociological, and psychological studies that treat issues of modernity. This project is particular apt when once considers the relationship of the railway--a means of communication--with other nineteenth-century communications media such as the novel.
--Nicholas Wolf print print culture modernism modernity modernism non-USA Wolf, Nicholas transportation Great Britain Great Britain, and railroad railroads modernity railroads, and modernity modernity, and railroads print culture, and railroads railroads, and print culture railroads, and literature Carter, Ian Railways and Culture in Britain: The Epitome of Modernity 8910 Carter, Paul A. The Creation of Tomorrow: Fifty years of Magazine Science Fiction New York Columbia University Press
1977
science future and science fiction values science fiction future progress science, and society values, and science fiction future, and science fiction Carter, Paul A. The Creation of Tomorrow: Fifty years of Magazine Science Fiction 1880 Casserly, H. C. Outline of Irish Railway History London David & Charles
1974
A survey of the Irish railway system between c.a. 1840 and 1960, organized by railway company with a chapter devoted to each. Most details center on routes, mileage, and train engines. Although an extended work, this book is narrowly focused in terms of information. Only the first chapter explores some of the unique aspects of the Irish Railway, the trajectory of construction, and the impact of government and private interests. Sources are a set of secondary publications (now dated bibliography) and some published institutional records.
--Nicholas Wolf non-USA Wolf, Nicholas Ireland Ireland, and railroads railroads railroads, and Ireland transportation Ireland Casserly, H. C. Outline of Irish Railway History 220 Castells, Manuel End of Millennium Malden, MA Blackwell Publishers
1998
The Information Age: Economy, Society, and Culture 3 See also: office This is the concluding work in a three-volume study entitled, The Information Age: Economy, Society, and Culture. While somewhat redundant, these works represent a major accomplishment by the author. In these three volumes, Castells attempts to document “a new historical landscape, whose dynamics is likely to have lasting effects on our lives, and on our children’s lives.” He maintains that the last quarter of the twentieth century has been marked by a “transition from industrialism to informationalism, and from the industrial society to the network society, both for capitalism and statism.”
In End of Millennium, Castells examines the collapse of the former Soviet Union, and notes that the inability of Soviet “statism to manage the transition to the Information Age” played a crucial part in this downfall. The Soviets had attempted to control information flow, regulating everything from paper, to typewriters, to photocopy machines. They failed to keep pace with the information technology revolution of the 1970s, however. “What had been a situation close to parity [with the United States] in computer design in the early 1960s became, in the 1990s, a 20-year difference in design and manufacturing capability.” Gorbachev, who attempted to modernize Soviet communism, inadvertently unleashed forces that brought down the USSR. He “will remain the hero who changed the world by destroying the Soviet empire,” Castells writes, “although he did it without knowing it and without wanting it.”
In addition to treating developments in the former USSR and in post-Soviet Russia, Castells considers other areas of the world: Africa (chapter 2), Japan, China, Taiwan, Singapore, South Korea, Hong Kong, and other Asian regions (chapter 4), and the unification of Europe (chapter 5). He also devotes chapter 3 to the worldwide criminal economy.
A concluding chapter, “Making Sense of our World,” pulls together themes developed in this work and in the two previous volumes in his trilogy, Rise of Network Society, and The Power of Identify. “A new world is taking shape in this end of millennium. It originated in the historical coincidence, around the late 1960s and mid-1970s, of three independent processes: the information technology revolution; the economic crisis of both capitalism and statism, and their subsequent restructuring; and the blooming of cultural social movements, such as libertarianism, human rights, feminism, and environmentalism. The interaction between these processes, and the reactions they triggered, brought into being a new dominant social structure, the network society; a new economy, the informational/global economy; and a new culture, the culture of real virtuality.”
What is “new” about this era? Castells suggests the following“Chips and computers are new; ubiquitous, mobile telecommunications are new; genetic engineering is new; electronically integrated, global financial markets working in real time are new; and inter-linked capitalist economy embracing the whole planet, and not only some of its segments, is new; a majority of the urban labor force in knowledge and information processing in advanced economies is new; a majority of urban population in the planet is new; the demise of the Soviet Empire, the fading away of communism, and the end of the Cold War are new; the rise of the Asian Pacific as an equal partner in the global economy is new; the widespread challenge to patriarchalism is new; the universal consciousness on ecological preservation is new; and the emergence of a network society, based on a space of flows, and on timeless time, is historically new.” computers USSR nationalism women, and new media time and timekeeping time reality values preservation nationalism and communication communication revolution history, and new media materials materials genetics women communication revolution, and second industrial revolution values religion capitalism war non-USA history geography virtual reality duplicating technologies general studies communication revolution informationalism microelectronics Soviet Union, and collapse of photocopying typewriters computers communication revolution, and capitalism Gorbachev, Mikhail capitalism statism feminism environmentalism real virtuality, culture of chips, computer telecommunications genetic engineering biotechnology space (spatial) time Cold War communism global communication Japan China Taiwan Singapore South Korea Hong Kong Asia Africa artificial intelligence and biotechnology human rights second industrial revolution patriarchy Soviet Union computer chips environment Soviet Union Soviet Union, and new media history, break with capitalism, and new media computers and the Internet artificial intelligence and biotechnology nationalism, and new media labor labor, and new media communism, and new media military communication Castells, Manuel End of Millennium 2090 Castells, Manuel High Technology, Economic Restructuring, and the Urban-Regional Process in the United States Manuel Castells, ed. High Technology, Space, and Society Beverly Hills, CA Sage Publications
1985
11-40 See also: office Castells wrote in 1985 that “we are in the middle of a major technological revolution that is transforming our ways of producing, consuming, organizing, living, and dying. Cities and regions are also changing under the impact of new technologies.” Two features characterized this technological innovation. One was that “the object of technological discoveries, as well of their applications, is information.” The second feature concerned “the fact that the outcome is process-oriented, rather than product-oriented.” Castells went on to argue that the “most important global process conditioning the relationship between new technologies and spatial dynamics is the economic restructuring that U.S. capitalism is currently undergoing, superseding the structural crisis of the 1970s.” (italics in original text) computers nationalism labor communication revolution consumerism communication revolution, and second industrial revolution geography office, and information technology information technology Information Age nationalism and communication general studies space (spatial) capitalism communication revolution second industrial revolution information processing urban studies consumers capitalism labor urban studies office, and new media computers and the Internet office Castells, Manuel High Technology, Economic Restructuring, and the Urban-Regional Process in the United States 240 Castells, Manuel The Informational City: Information Technology, Economic Restructuring, and the Urban-Regional Process Cambridge, MA Basil Blackwell Inc.
1989
See also: office This work focuses on the United States, and argues that during the 1970s major changes occurred simultaneously in communication technology and in the restructuring of capitalism to produce societies’ “fundamental matrix of institutional and economic organization.” The changes in communication led to the “emergence of a new mode of socio-technical organization” which Castells calls the “informational mode of development.” At the core of this “new technological paradigm” is microelectronics, and a series of innovations that built on the discoveries of the transistor in 1947, the integrated circuit around 1957, the planar process in 1959, and the microprocessor in 1971. “Computers, spurred on by exponential increases in power and dramatic decreases in cost per unit of memory, were able to revolutionize information processing, in both hardware and software. Telecommunications became the key factor for the diffusion and full utilization of the new technologies by enabling connections between processing units, to form information systems.” Applying microelectronic-based informational system in workplaces made for more flexible and integrated systems of management and production. “Around this nucleus of information technologies, a number of other fundamental innovations took place, particularly in new materials (ceramics, alloys, optical fibers), and more recently, in superconductor, in laser, and in renewable energy sources. In a parallel process, which benefitted from the enhanced capacity to store and analyze information, genetic engineering extended the technological revolution to the realm of living matter. This laid the foundations for biotechnology, itself an information technology with its scientific basis in the ability to decode and reprogram the information embodied in living organisms.”
Two features characterize the new technological paradigm1) the paradigm’s most distinguishing features is that “the core new technologies are focused on information processing.” 2) another characteristic of these technologies, one “common to all major technological revolutions,” is that the “main effects of their innovations are on processes, rather than on products.” These points, of course, were also made in High Technology, Space, and Society (1985).
Occurring along with these changes in technologies was a restructuring of capitalism during the 1980s. The relation between this restructuring and technology is complex. The social and political system in many ways shapes the technology; at the same time, without the technology, the restructuring of capitalism would have surely taken a different form.
Castells sees three phases of capitalism. The pre-1929 era was characterized by laissez-faire, and was thrown into crisis by the Great Depression and World War II, which triggered a restructuring. What emerged was state-regulated capitalism which flourished from 1945 until the mid-1970s when this system fell into crisis. The oil shortages of 1974 and 1979 help bring on this crisis, although its causes ran much deeper. During the 1980s, another restructuring took place that gave birth to a new model of capitalism, one characterized by “the overpowering of labor by capital, the shift of the state toward the domination-accumulation functions of its intervention in economy and society, and the internationalization of the capitalist system to form a worldwide interdependent unit working in real time.” Castells is particularly good in explaining how new communication technologies made possible the internationalization of capitalism. computers superconductivity nationalism microprocessing time and timekeeping transistors, and integrated circuits time optical fibers fiber optics communication revolution labor office archives materials genetics fiber optics non-USA materials Information Age general studies capitalism microelectronics communication revolution transistors integrated circuits planar process microprocessors telecommunications information processing materials revolution optical fibers ceramics alloys lasers superconductors genetic engineering biotechnology oil global communication time artificial intelligence and biotechnology urban studies computers and the Internet nationalism and communication information storage labor labor, and new media capitalism, global Castells, Manuel The Informational City: Information Technology, Economic Restructuring, and the Urban-Regional Process 9620 Castells, Manuel The Power of Identity Oxford, UK, Blackwell Publishers Ltd.
1997
The Information Age: Economy, Society and Culture 2 Castells presents an account of what he argues are two great and conflicting trends shaping the world at the end of the 20th century: globalization and identity. He sees the information-technology revolution restructuring capitalism, which has, in turn, meant the demise of statism. Such instability has changed the notion of national identity and created a "network society" ushering in globalization of strategic economic activities, a workforce dangerously in constant flux, and a culture of "real" virtuality. Castells see the emerging virtual culture as an expression of collective identity. Castells also says the techno-economic forces that use the media to promote their own agenda are in fundamental, ideological conflict with the idea of the nation-state and the notion of political democracy. During this time of globalization, he asks who regulates powerful multinational corporations that have no clear national boundary or character? Can a nation exist without a state? Castells examines the effect of the feminist and environmentalist movements (and other proactive and reactive movements as he terms them) that have dug the trenches of resistance on behalf of ethnicity, locality, family, God, and the idea of nationhood.
--Robert Pondillo nationalism corporations corporations, multinational interactivity women, and new media time and timekeeping time reality communication revolution second industrial revolution communication revolution identity women communication revolution, and second industrial revolution non-USA values geography virtual reality political economy microelectronics labor general studies nationalism and communication microelectronics revolution capitalism second industrial revolution communication revolution information age global communication labor and communication real virtuality, culture of space (spatial) time interactive media urban studies capitalism, and microelectronics revolution capitalism, restructuring of Pondillo, Robert values, and microelectronics revolution feminism patriarchy identity, and microelectronics revolution multinational corporations globalization virtual reality women, and feminism Castells, Manuel The Power of Identity 250 Castells, Manuel The Rise of the Network Society Oxford, UK Blackwell Publishers Ltd.
1996
The Information Age: Economy, Society and Culture 1 See also: office This book develops themes set out in Castells’ Informational City (1989), and it is the first volume of a trilogy. Volume II, The Power of Identity, explores the interaction of the Net and Self in the context of the patriarchal family and the national state, two institutions in crisis. Volume III, End of Millennium, pulls together themes in the first two volumes and is more theoretical. Among other themes covered is the collapse of the former Soviet Union.
The Rise of Network Society is a tour de force. Castells examines the complex interaction between historic changes in communication brought by the microelectronics revolution of the 1970s, and the restructuring of capitalism during the 1980s. “My starting point,” he writes, “is that, at the end of the twentieth century, we are living through of these rare intervals in history. An interval characterized by the transformation of our ‘material culture’ by the works of a new technological paradigm organized around information technologies.” We should not underestimate the current revolution in technology, he argues, because it is “at least a major a historical event as was the eighteenth-century Industrial Revolution, inducing a pattern of discontinuity in the material basis of economy, society, and culture.”
Castells distinguishes between “information society” and “informational society.” The former term “emphasizes the role of information in society. But I argue that information, in its broadest sense, e.g. as communication of knowledge, has been critical in all societies, including medieval Europe which was culturally structured, and to some extent unified, around scholasticism, that is, by and large an intellectual framework.... In contrast, the term informational indicates the attribute of a specific form of social organization in which information generation, processing, and transmission become the fundamental sources of productivity and power, because of new technological conditions emerging in this historical period.”
Castells’ opening chapter on “The Information Technology Revolution” is informative, thought-provoking, and provides good leads to related literature. Chapter 2 is “The Informational Economy and the Process of Globalization,” while chapter 3 is entitled “The Network Enterprise: The Culture, Institutions, and Organizations of the Informational Economy.” Chapter 4 explores “the transformation of work and employment.” Chapter 5 is “The Culture of Real Virtuality,” which discusses the rise of interactive networks and the end of the mass audience. Chapter 6 deals with “The Space of Flows,” while the final chapter is “The Edge of Forever: Timeless Time.”
Castells, who was born in Spain, is a professor of sociology and planning. This work is based on research in Asia, Latin America, the United States, and Europe. nationalism interactivity time and timekeeping time second industrial revolution reality communication revolution microelectronics revolution labor office) communication revolution, and second industrial revolution non-USA geography virtual reality labor general studies nationalism and communication microelectronics capitalism information age global communication labor and communication real virtuality, culture of space (spatial) time interactive media urban studies capitalism, and microelectronics revolution capitalism, restructuring of demassification Castells, Manuel The Rise of the Network Society 230 Castells, Manuel ed. High Technology, Space, and Society Beverly Hills Sage Publications
1985
See also: office This collection of original essays samples current research (as of 1985) on “the existence of a web of interactions between technology and space, mediated by economic, cultural and political processes.” The common ground for these essays “is the recognition of the importance of technological change for the evolution of spatial and social forms, together with an emphasis on the need to integrate technology in a broader framework of social relationships to understand the diversity of its effects on people’s lives, on institutions, and, ultimately, on spatial forms and processes.” The editors contend that these essays represent a “new frontier of urban studies” but do not attempt to construct “a coherent view” of this phenomenon. Two opening chapters, one by Manuel Castells, the other by geographer Peter Hall, provide an overview of this field, but do not provide a synthesis of the other contributions to this volume. Castells writes that “We are in the middle of a major technological revolution that is transforming our ways of producing, consuming, organizing, living, and dying. Cities and regions are also changing under the impact of new technologies....
“Two features are characteristic of the stream of technological innovation under way. First, the object of technological discoveries, as well of their applications, is information....
“The second feature concerns the fact that the outcome is process-oriented, rather than product-oriented.”
Among the essays in this volume areManuel Castells, “High Technology, Economic Restructuring, and the Urban-Regional Process in the United States”; Peter Hall, “Technology, Space, and Society in Contemporary Britain”; AnnaLee Saxenian, “Silicon Valley and Route 128Regional Prototypes or Historic Exceptions?”; Ann Roell Markusen and Robin Bloch, “Defensive Cities: Military Spending, High Technology, and Human Settlements”; Claude Fischer, “Studying Technology and Social Life.” technology R & D materials, and silicon materials silicon research and development war communication revolution labor war non-USA general studies space (spatial) urban studies communication revolution technology and society Great Britain telephones automobiles military communication Silicon Valley geography Route 128 capitalism labor, and new media military communication Fischer, Claude Hall, Peter transportation Castells, Manuel ed. High Technology, Space, and Society 1470 Cate, Phillip Dennis The French Poster, 1868-1900 American Art Posters of the 1890s New York Metropolitan Museum of Art; Distributed by Harry N. Abrams, Inc.
1987
57-69 (text); 70-96 (posters) posters, late 19th century photography non-USA posters photography and visual communication posters, and France (late 19th century) posters, and history of color, and French posters (late 19th century) color posters, and France France Cate, Phillip Dennis The French Poster, 1868-1900 12080 Cate, Phillip Dennis// Sinclair Hamilton Hitchings The Color Revolution: Color Lithography in France, 1890-1900 Santa Barbara, CA and Salt Lake City, UT Peregrine Smith, Inc.
1978
During the 1890s, French avant-garde artists preferred color lithography over other means of printmaking. Cate and Hitchings devotes two chapters to this development. Chapter 1 is “The 1880s: The Prelude,” and Chapter 2 is “The 1890s: Revolution.” There follows numerous color illustrations. At the end of this work are short biographies of several artists: Henri de Toulouse-Lautrec, Pierre Bonnard, Henri-Gabriel Ibels, Edouard Vuillard, Maurice Denis, Ker-Xavier Roussel, Alexandre Lunois, Benjamin Jean Pierre Henri Rivière, Charles-Marie Dulac, Georges de Feure, Hermann René Georges Paul, Jean Veber, Théophile Alexandre Steinlen, Eugè-Samuel Grasset, Paul Signac, and Maximilien Luce.
This volume also contains chapters by Sinclair Hamilton Hitchings entitled “Simplicity of Means" and "Eighty Years of an Artist’s Medium”; and a reprint of André Mellerios’ 1898 short book, La Lithograpie originale en couleurs (Original Color Lithography), translated by Margaret Needham. Cate provides a short biography of Mellerios who lived from 1862 to1943.
Cate and Hitchings have tried to build on the work of Mellerios and others “by documenting the early history of the medium as well as the events in commercial and noncommercial color printing which led up to the 1890s and which helped to set the atmosphere which was favorable to color printing; by revealing the vehicles of support which began to emerge in the mid-eighties – the print. and poster dealers, color lithographic printers, independent exhibitions, print albums and journals; by indicating the conflicting printmaking aesthetics of the period, and by discussing the variety of stylistic approaches to the medium.
“Finally, as an epilogue to the color revolution, achievement in color lithography by twentieth-century artists in Europe and the United States are discussed. Though original work in color lithography slowed at the turn of the century, the medium has remained an important means of expression for many artists throughout the last seventy-eight years.” illustrations Chicago, IL photography color non-USA photography and visual communication prints lithography lithography, color France France, and color lithography prints, and color lithography Toulouse-Lautrec, Henri de illustrations color, and posters posters prints, and printmaking Bonnard, Pierre Chéret, Jules chromolithography posters, late 19th century posters, and Toulouse-Lautrec posters, and France posters, and France (late 19th century) posters, and color Mellerios, André Chéret, Jules Cate, Phillip Dennis// Sinclair Hamilton Hitchings The Color Revolution: Color Lithography in France, 1890-1900 6150 Cavell, Stanley The World Viewed: Reflections on the Ontology of Film New York Viking Press
1971
In chapter 13, “The World as a Whole: Color,” Cavell talks about specific films -- Gone With the Wind, The Wizard of Oz, Vertigo, Rosemary’s Baby, among others -- and about how they establish “a world of private fantasy.” The consideration of color technology is disappointing.
“The great example of this combination of fantasy and color symbolism is Hitchcock’s Vertigo," the author writes. "The film establishes the moment of moving from one color space into another as one of moving from one world into another. In Rosemary’s Baby this is accomplished by showing the modernizing of one apartment in the Dakota building, then moving between its open chic and the darker elegance. An instance in Vertigo is James Stewart’s opening of a storage-room door -- the whole car-stalking passage leading up to this moment shot in soft washed-out light -- into a florist shop alive with bright flowers, predominantly red. The moment is almost comic in its display of assured virtuosity.” photography seeing at a distance postmodernism modernism new way of seeing motion pictures motion pictures color color, and motion pictures motion pictures, and color new way of seeing, and color films photography and visual communication Cavell, Stanley The World Viewed: Reflections on the Ontology of Film 2160 Cawelti, John G. America on Display: The World's Fairs of 1876, 1893, 1933 Frederic Cople Jaher, ed. The Age of Industrialism in America: Essays on Social Structure and Cultural Values New York Free Press
1968
317-63 Cawelti argues that world fairs bring together into one setting many innovations and achievement and give insight into how Americans viewed “the unity of their culture.” (319) He examines world fairs held in Philadelphia (1876) and Chicago (1893, 1933-34) and argues that these exhibitions reflect changing political and cultural values. “American culture defined itself in traditional political terms in 1976,” he writes, “in terms of leadership of a special business-artistic elite in 1893, and as a system of corporate institutions in 1933.” (320)
The discussion of the Century of Progress in Chicago in 1933-34 is interesting. Such people as film censorship Joseph Breen and future U.S. president Ronald Reagan attended this world’s fair. The author writes that “in 1933, planning meant not only a conscious rejection of the past, but an acceptance of the impermanence and fluidity of the present. The exposition’s designers tried to create a flexible, dynamic, and technologically advanced environment that was capable of continuous change and motion and therefore responsive to the modern imperative of continuous scientific progress and technological development. The future had become the locus of value.” (357) technology nationalism progress preservation history, and new media history World Fairs Industrial Revolution values, and Industrial Revolution Industrial Revolution, and values nationalism and communication nationalism, and World Fairs Century of Progress (1933-34) progress, and technology technology and society values, and progress values, and technology history, break with history, and world's fairs values Cawelti, John G. America on Display: The World's Fairs of 1876, 1893, 1933 2930 Cawkell, A. E. Forces Controlling the Paperless Revolution Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
244-74 Offices need to communicate with other offices and sources of information; they are not isolated. The "information revolution" brought innovation in computing, electronics, and telecommunications converge. Cawkell gives a "comprehensive review of the technological forces and social factors shaping the new electronic office information systems," and discusses electronic mail, teleconferencing, and Prestel. It calls for a new type of "sociotechnologists." Some sociologists should be "able to master the technology, and some engineers who are prepared to study the social issues and politics," he writes. This piece originally appeared in Wireless World in 1978, in the July and August issues. computers microprocessing email labor communication revolution second industrial revolution communication revolution materials office paper office, and information technology microprocessors microelectronics media information technology Information Age computers and the Internet information technology, and office microelectronics revolution information processing paperless revolution media convergence telecommunications teleconferencing Prestel electronic mail communication revolution automation capitalism microprocessors, and office electronic media office, and new media paper, and office media convergence materials Cawkell, A. E. Forces Controlling the Paperless Revolution 34720 Cazamian, Louis Criticism in the Making New York Macmillan Company
1929
Louis Cazamian, who was at the time of this work as professor of English literature at the University of Paris, devotes a chapter (63-80) on "The Method of Discontinuity in Modern Art and Literature." He observes that "in all the arts" there was "a movement away from a need which, whether in the ascendant or not, was always felt and honored: the craving for some sort of continuity in form." (64) The author discusses modern painting (e.g., impressionism and cubism), music, sculpture, literature and psychology (e.g., Joyce's Ulysses). He discusses cinema (76-78) and notes its appeal to those people "without the training and refinement of higher culture." (76) The enjoy a film, he says, one need have "only a mood of passiveness; and to such moderate demands, the many were eager to respond." (77) The movie theater provided an "atmosphere in which the principle of literary discontinuity has been able to thrive." (77)
"The spell of discontinuous art, in music, painting, the drama, and writings of all kinds," Cazamian wrote, "works upon us like a halluciantion; the intelligence, always exacting and diffident, is set at rest; our senses and imaginations are drowned in the soft-whirling, rippling current of things. A trance seizes our minds and our wills. The audiences in picture palaces know that hypnotic effect well, and are very probably fond of it." (78) modernism motion pictures motion pictures, and modernism new way of seeing critics modern art color color, and impressionism audiences media effects motion pictures, and audiences audiences, and motion pictures media effects, and motion pictures motion pictures, and media effects Cazamian, Louis Criticism in the Making 28100 Center for Communication and Social Policy, University of California Santa Barbara ed. National Television Violence Study: 2 Thousand Oaks, CA Sage Publications
1998
See also: violence See also: sexuality Volume 2 This, the second of three volumes, argues that there is a strong consensus in communication research on media effects linking violence on television to real world problems. “While recognizing the complexity in determining the causes of violent behavior," numerous medical and professional assocations "have concluded that the mass media bear some responsibility for contributing to real world violence,” this national study concluded in 1997. “Viewing media violence is not the only, nor even the most important, contributor to violent behavior.” Nor did every violent act shown affect every child or adult who saw it. But “children’s exposure to violence in the mass media, particularly at young ages, can have lifelong consequences,” this study found. There was “clear evidence that exposure to media violence” contributed significantly to violence in society in at least three ways. First, it increased aggression toward other because some people imitated what they had learned by watching. Second, it desensitized people, or made them the more callous, to violence toward others. Finally, it elevated people’s fear of becoming a victim. These conclusions were “based on careful and critical readings in the social science research collected over the last 40 years.” (Quotations from Volume I) Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Cantor, Joanne National Association of Theatre Owners (NATO) Surgeon General social science research censorship and ratings NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures media effects media violence censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification television motion pictures and popular culture violence media effects television, and violence motion pictures, and violence media effects, and violence social science research, and violence Surgeon General's Report (1972) Donnerstein, Edward Cantor, Joanne, reports children, and media MPAA rating system (U. S.), and critics television, and rating system (U. S.) rating system (U. S.), and television Center for Communication and Social Policy, University of California Santa Barbara ed. National Television Violence Study: 2 28110 Center for Communication and Social Policy, University of California Santa Barbara ed. National Television Violence Study: 3 Thousand Oaks, CA Sage Publications
1998
See also: violence See also: sexuality Volume 3 This, the third of three volumes, argues that there is a strong consensus in communication research on media effects linking violence on television to real world problems. “While recognizing the complexity in determining the causes of violent behavior," numerous medical and professional assocations "have concluded that the mass media bear some responsibility for contributing to real world violence,” this national study concluded in 1997. “Viewing media violence is not the only, nor even the most important, contributor to violent behavior.” Nor did every violent act shown affect every child or adult who saw it. But “children’s exposure to violence in the mass media, particularly at young ages, can have lifelong consequences,” this study found. There was “clear evidence that exposure to media violence” contributed significantly to violence in society in at least three ways. First, it increased aggression toward other because some people imitated what they had learned by watching. Second, it desensitized people, or made them the more callous, to violence toward others. Finally, it elevated people’s fear of becoming a victim. These conclusions were “based on careful and critical readings in the social science research collected over the last 40 years.” (Quotations from Volume I) Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Cantor, Joanne National Association of Theatre Owners (NATO) Surgeon General social science research censorship and ratings NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures media effects media violence censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification television motion pictures and popular culture violence media effects television, and violence motion pictures, and violence media effects, and violence social science research, and violence Surgeon General's Report (1972) Donnerstein, Edward Cantor, Joanne, reports children, and media MPAA rating system (U. S.), and critics television, and rating system (U. S.) rating system (U. S.), and television Center for Communication and Social Policy, University of California Santa Barbara ed. National Television Violence Study: 3 28090 Center for Communication and Social Policy, University of California Santa Barbara ed. National Television Violence Study: Volume 1 Thousand Oaks, CA Sage Publications
1997
See also: violence See also: sexuality This, the first of three volumes, argues that there is a strong consensus in communication research on media effects linking violence on television to real world problems. “While recognizing the complexity in determining the causes of violent behavior," numerous medical and professional assocations "have concluded that the mass media bear some responsibility for contributing to real world violence,” this national study concluded in 1997. “Viewing media violence is not the only, nor even the most important, contributor to violent behavior.” Nor did every violent act shown affect every child or adult who saw it. But “children’s exposure to violence in the mass media, particularly at young ages, can have lifelong consequences,” this study found. There was “clear evidence that exposure to media violence” contributed significantly to violence in society in at least three ways. First, it increased aggression toward other because some people imitated what they had learned by watching. Second, it desensitized people, or made them the more callous, to violence toward others. Finally, it elevated people’s fear of becoming a victim. These conclusions were “based on careful and critical readings in the social science research collected over the last 40 years.” Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Cantor, Joanne National Association of Theatre Owners (NATO) Surgeon General social science research censorship and ratings NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures media effects media violence censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification television motion pictures and popular culture media effects television, and violence motion pictures, and violence media effects, and violence social science research, and violence Surgeon General's Report (1972) Donnerstein, Edward Cantor, Joanne, reports children, and media MPAA rating system (U. S.), and critics television, and rating system (U. S.) rating system (U. S.), and television Center for Communication and Social Policy, University of California Santa Barbara ed. National Television Violence Study: Volume 1 3980 Center for the History of Electrical Engineering Sources in Electrical History 2: Oral History Collections in U. S. Repositories New York Center for the History of Electrical Engineering; IEEE
1992
This work runs 89 pages plus an index. Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories engineering electric lighting electrical engineering electricity electricity, and oral history electricity, and archives archives oral histories electrical engineers Center for the History of Electrical Engineering Sources in Electrical History 2: Oral History Collections in U. S. Repositories 9640 Ceplair, Larry & Steven Englund The Inquisition in Hollywood: Politics in the Film Community, 1930-1960 Garden City, NY Anchor Press/Doubleday
1980
See also: office The authors note that after the arrival of sound technology in Hollywood, studios had to turn increasingly to screenwriters for their story treatments. While this book does not discussion moviemaking technology per se, it is an excellent treatment of the efforts by writers to use motion pictures for social reform during the Great Depression, World War II and the Cold War. The work is based on substantial research in primary collections and on oral histories. nationalism nationalism blacklisting law censorship and ratings capitalism war propaganda motion pictures motion pictures censorship, and motion pictures Cold War communism, and motion pictures propaganda, and motion pictures motion pictures, and reform motion pictures, and communism censorship communism capitalism, and motion pictures labor labor, and motion pictures nationalism, and motion pictures blacklisting, and motion pictures motion pictures, and blacklisting nationalism and communication Ceplair, Larry & Steven Englund The Inquisition in Hollywood: Politics in the Film Community, 1930-1960 1490 Ceram, C. W. Archaeology of the Cinema London Thames and Hudson
1965
This work deals with the history of cinema up to 1897, and has material on the history of photography in the 19th century. Ceram’s purpose “is to make order out of a vast amount of material which has been accumulating for decades: the prehistory and early history of the cinema. What I am really concerned with is the genesis of the cinema as a technique, and my book ends in 1897, the year which saw the birth of the cinema industry.” This work is richly illustrated with black and white photographs. It deals with cinema in Europe and Russia, but also deals with Edison and Eastman in the United States. illustrations photography seeing at a distance postmodernism modernism non-USA Russia photography and visual communication new way of seeing motion pictures illustrations Great Britain photography and visual communication motion pictures, and pre-1897 Eastman, George Edison, Thomas motion pictures, and Europe motion pictures, and Russia motion pictures, and United States photography, and 19th century motion pictures, and prehistory Russia, and motion pictures Europe, and motion pictures Great Britain, and motion pictures motion pictures illustrations, and origins of cinema new way of seeing, and motion pictures Europe Great Britain Russia Ceram, C. W. Archaeology of the Cinema 7760 Ceruzzi, Paul An Unforeseen Revolution: Computers and Expectations, 1935-1985 Joseph J. Corn, ed. Imagining Tomorrow: History, Technology, and the American Future Cambridge, MA MIT Press
1986
188-201 Ceruzzi wrote in 1986 that "there are perhaps half a million large computers in use in America today, 7 or 8 million personal computers, 5 million programmable calculators, and millions of dedicated microprocessors built into other machines of every description.
"The changes these machines are bringing to society are profound, if not revolutionary. And, like many previous revolutions, the computer revolution is happening very quickly. The computer as defined today did not exist in 1950. Before World War II, the word computer meant a human being who worked at a desk with a calculating machine, or something built by a physics professor to solve a particular problem,...." technology computers future and science fiction community democracy computers computers and the Internet future technology and society democracy and media future, and computers computers, and future computers, personal computers, and revolution Ceruzzi, Paul An Unforeseen Revolution: Computers and Expectations, 1935-1985 33570 Ceruzzi, Paul E. Moore's Law and Technological Determinism: Reflections on the History of Technology Technology and Culture
July 2005
46 3 584-93 technology computers corporations corporations computers and the Internet integrated circuits transistors Moore's Law technological determinism Intel Corp. Moore, Gordon technology and society Ceruzzi, Paul E. Moore's Law and Technological Determinism: Reflections on the History of Technology 7770 Ceruzzi, Paul E. Reckoners: The Prehistory of the Digital Computer, from Relays to the Stored Program Concept, 1935-1945 Westport, CT Greenwood Press
1983
Although somewhat technical, this work does have useful information and insights. Chapter 2 deals with “Computers in Germany.” Chapter 4 treats computers at Bell Labs, and chapter 5 is on “The ENIAC.” Chapter 6 is called “To the First Generation.” Chapter 7 (the last chapter) is entitled “The Revolution?” computers corporations corporations digitization war non-USA World War II Germany computers and the Internet Germany Germany, and computers Bell Laboratories ENIAC World War II, and computers digital media computers Ceruzzi, Paul E. Reckoners: The Prehistory of the Digital Computer, from Relays to the Stored Program Concept, 1935-1945 2520 Chafee, Zechariah Jr. Government and Mass Communications: A Report from the Commission on Freedom of the Press Chicago University of Chicago Press
1947 (2 volumes)
The Commission on Freedom of the Press, which was made up of several distinguished scholars in addition to Chafee, argued that the "word 'press' should not confine us to newspapers or printed matter generally; the inquiry should include other means of communicating news and opinions such as films and radio broadcasting of news and comment. And 'freedom' must mean more than the traditional conception of immunity from government control."
This work is devided into two volumes. Chafee's Introduction to Volume I is entitled "The Relations of the Government to the Press Today and Tomorrow." This volume considers "Protection of Individual Interests Against Untruthful and Unjustifiable Publications," "Protection of Common Standards of the Community," and "Protection Against Internal Disorder and Interferences with the Operation of Government."
Volume II deals with "Affirmative Governmental Activities for Encouraging the Communication of News and Ideas," and considers: "The Provision of Essential Physical Facilities Accessible to All," "Traffic Regulations," "Applications to the Press of General Legislation," and "The Government as a Party to Communications." An Appendix list the Commission's recommendations and a list of all the Commission's publications is also included. nationalism values values obscenity newspapers journalism law censorship and ratings censorship news and journalism nationalism and communication nationalism, and censorship nationalism, and freedom of the press newspapers, and censorship news, and censorship news, and government obscenity, and censorship censorship, and obscenity news Chafee, Zechariah Jr. Government and Mass Communications: A Report from the Commission on Freedom of the Press 2370 Chamberlain, Stephen C. Preserving the Present for the Future SMPTE Journal
March 1982
91 3 227- See filed under SMPTE Journal (1982) (1985). Chamberlain is interested in the problems of preserving film and television, sources from which future history can, and should be, written. He writes: "I want to examine the physical record of the process of innovation, and the disposition of those records generated both today and in the future after they cease to have any direct and profitable use." (227) He notes, also, that a March, 1981 editorial in IEEE's Spectrum, pointed to this issue as a national problem. video cassette recorders (VCRs) magnetic recording preservation history and new media preservation motion pictures archives materials materials VCRs magnetic tape cinema motion pictures celluloid film television motion pictures and popular culture television, and history history, and television film, and history history, and film history, and nonprint media historical preservation preservation, and television preservation, and film information storage information storage, and film information storage, and television VCRs, and preservation sound recording preservation, and sound recording history, and sound recording history, and new media history Chamberlain, Stephen C. Preserving the Present for the Future 28540 Champlin, Charles Critic at Large: Lasting Imprint of 'Last Temptation' Los Angeles Times
Aug. 16, 1988
6 (Calendar) 1 Los Angeles Times Arts Editor Charles Champlin writes that the "first and last irony about The Last Temptation of Christ is that it is certainly not guilty of blasphemy as charged, but that its honorable and admirable intentions are only intermittently achieved." Champlin offers a favorable portrayal of Martin Scorsese, the film's director. Motion Picture Association of America (MPAA) motion pictures, and religion Classification and Rating Administration classification MPAA self-regulation corporations motion pictures, and sexuality sexuality motion pictures, and sexuality corporations Classification and Rating Administration (CARA) military-industrial complex advertising, and public relations universities censorship and ratings rating system (U.S.) rating system (U. S.) propaganda advertising values sexuality motion pictures First Amendment freedom values religion law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA boycotts motion pictures and popular culture motion pictures, and religion religion religion, and motion pictures movies, and religion nudity motion pictures, and nudity motion pictures, and nudity CARA, and religion CARA, and nudity Kazantzakis, Nikos Schrader, Paul Cocks, Jay Universal Pictures Wasserman, Lew universities, and religion motion pictures, and boycotts CARA, and rating controversies rating system (U. S.), and controversies Wall, James Robertson, Pat Dobson, James First Amendment, and motion pictures motion pictures, and First Amendment public relations, and motion pictures motion pictures, and public relations public relations Valenti, Jack Valenti, Jack, and religion Valenti, Jack, and First Amendment First Amendment, and Jack Valenti Heffner, Richard, and religion censorship censorship, and motion pictures motion pictures, and censorship motion pictures, and boycotts boycotts, and motion pictures Bright, Bill Campus Crusade for Christ Scorsese, Martin Blockbuster Video Valenti, Jack, and censorship nudity, and religion religion, and nudity Dafoe, Willem Hershey, Barbara Bowie, David Southern Baptist Christian Life Commission values critics Heffner, Richard Champlin, Charles Critic at Large: Lasting Imprint of 'Last Temptation' 25240 Champlin, Charles Critics at Large: MPAA Ratings: A Crisis of Confidence, a System in Disarray Los Angeles Times
July 24, 1990
F (Calendar) 3F Champlin, a film critic for the Los Angeles Times, discusses the criticisms of the motion picture rating system and pressure to adopt a new "adult" rating category, which would become NC-17. Having experts on the rating board such as psychiatrists would be "a nightmare of intrusion in the creative process that would dwarf any of the present cries that the ratings constitute censorship," Champlin writes. The article speculates that legal challenges may result in the ratings being "sued out of existence." Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theater owners censorship and ratings rating system (U.S.) rating system (U. S.) values NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Valenti, Jack, and NC-17 Valenti, Jack, and legal challenges theater owners, and rating system (U. S.) theater owners, and NC-17 MPAA, and NC-17 critics values law, and movie rating system (U. S.) Heffner, Richard Champlin, Charles Critics at Large: MPAA Ratings: A Crisis of Confidence, a System in Disarray 24360 Champlin, Charles Critics at Large: Scorsese in the Wake of "Temptation" Los Angeles Times
Jan. 19, 1989
6 (Calendar) 1 In this article, film critic Champlin discusses Martin Scorsese's reaction to attacks on his movie, The Last Temptation of Christ (1988), from Christian and other conservative groups. It notes that actress Barbara Hershey had first given Scorsese Niko Kazantzakis' novel on which the movie was based. values Christianity Protestants values motion pictures Hollywood values religion Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion Scorsese, Martin critics values Champlin, Charles Critics at Large: Scorsese in the Wake of "Temptation" 24260 Champlin, Charles Small Screen Takes on the Big Issues -- Again; Show-Biz Star Makers Dazzled by a Luminary from Another Galaxy Los Angeles Times
Sept. 17, 1987
6 (Calendar) 1 Champlin, a film critic for the Los Angeles Times, reports on Pope John Paul II's visit to Los Angeles and his address to members of the entertainment industry. This piece gives a good account of the Pope's views about mass media. The Pope tells his audience that "working constantly with images, you face the temptation of seeing them as reality. Seeking to satisfy the dreams of millions, you can become lost in a world of fantasy." Motion Picture Association of America (MPAA) MPAA values Christianity Wasserman, Lew Valenti, Jack values motion pictures Hollywood values religion Catholic Church non-USA motion pictures and popular culture television Pope John Paul II, and motion pictures Pope John Paul II Pope John Paul II, and television television, and Pope John Paul II motion pictures, and Pope John Paul II Valenti, Jack, and Pope John Paul II Wasserman, Lew, and Pope John Paul II Hollywood, and Catholic Church Hollywood, and religion Catholic Church, and Hollywood critics values values, and virtual reality virtual reality Champlin, Charles Small Screen Takes on the Big Issues -- Again; Show-Biz Star Makers Dazzled by a Luminary from Another Galaxy 20950 Champlin, Charles What Will H. Hays Begat: Fifty Years since His Code Rule Hollywood American Film
Oct. 1980
6 1 42-46, 86, 88 This is an informative piece on Will H. Hays and the motion picture Production Code. Champlin was a film critic for the Los Angeles Times. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation self-regulation Production Code Classification and Rating Administration (CARA) censorship and ratings values Production Code (motion pictures) values religion law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship Hays, Will H. Breen, Joseph Production Code (motion pictures) CARA CARA, and Production Code (motion pictures) Cruising Heffner, Richard motion pictures and popular culture motion pictures motion pictures, and censorship censorship, and motion pictures censorship, and PCA Valenti, Jack Champlin, Charles What Will H. Hays Begat: Fifty Years since His Code Rule Hollywood 5440 Chanan, Michael Repeated Takes: A Short History of Recording and Its Effects on Music London and New York Verson
1995
The author attempts "to provide a general history of the medium from Edison's talking tin foil of 1877 to the age of the compact disc." This work is a "spin-off" of a larger work on Western music, entitled Musica Practica. CDs tape recording, magnetic corporations magnetic recording corporations corporations discs, compact audio tape tape recording photography public address systems photography and visual communication sound recording motion pictures materials materials Edison, Thomas Third World law copyright compact discs (CDs) CDs non-USA tape recorders recording music sound recording phonograph sound, and music sound, and records tape recording sound discs, compact CDs sound, and compact discs (CDs) Edison, Thomas, and sound recording microphones sound, and microphones sound, and vinyl sound, and LP records Adorno, T.W. , and sound recording audio cassettes tape, and audio cassettes African Americans, and sound recording sound, and African Americans Columbia Record Company ABC CBS copyright, and sound recording sound, and copyright sound, and cylinders cylinders, and sound recording electricity electricity, and sound recording gramophone Great Britain Great Britain, and sound recording sound, and loudspeakers loudspeakers photography, and phonography phonography, and photography radio radio, and sound recording sound, and radio stereo sound, and stereo motion pictures, and sound recording sound, and motion pictures Third World, and audio cassettes audio cassettes, and Third World sound, and multinational corporations globalization, and sound recording global communication recording globalization Adorno, Theodor Chanan, Michael Repeated Takes: A Short History of Recording and Its Effects on Music 5170 Chandler, Alfred D. Jr. The Visible Hand: The Managerial Revolution in American Business Cambridge, MA The Belknap Press of Harvard University Press
1977
This work, by a major economic historian, has a section entitled “Communication: The Postal Service, Telegraph, and Telephone" in Chapter 6 (“Completing the Infrastructure”). post office nationalism labor office office, and new media office networks telegraph telephones postal service infrastructure capitalism nationalism and communication electricity networks, electrical Chandler, Alfred D. Jr. The Visible Hand: The Managerial Revolution in American Business 24480 Chandler, Russell 25,000 Gather at Universal to Protest Film Los Angeles Times
Aug. 12, 1988
1 1 This article deals with protesters who appeared at the gates of Universal Pictures to protest the movie The Last Temptation of Christ (1988). corporations corporations values Christianity Universal Pictures Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Pictures Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill critics values Chandler, Russell 25,000 Gather at Universal to Protest Film 24510 Chandler, Russell Protests Aided "Temptation," Foes Concede Los Angeles Times
Aug. 14, 1988
2 (Metro) 1 This article by the Los Angeles Times religion writer is about how protests, especially from religious groups, actually helped the box office for The Last Temptation of Christ (1988). The protests generated publicity for a movie that otherwise would have attracted far less attention. Generating publicity, even negative in nature, was often a strategy of studio marketers. corporations corporations values Christianity advertising, and public relations Universal Pictures propaganda advertising Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill public relations public relations, and Last Temptation Last Temptation, and public relations Last Temptation, and marketing strategies critics public relations, and motion pictures values Chandler, Russell Protests Aided "Temptation," Foes Concede 21120 Changas, Estelle Farber, Stephen Insiders Rate Film Code Board as 'Unreformed' Los Angeles Times
Aug. 8, 1971
Calendar 1, 22-25 The authors were both interns on the Code and Rating Administration (later Classification and Rating Administration). They are critical of the leadership of CARA director, Aaron Stern. They argue that Stern and another board member, Dr. Jacqueline Bouhoutsos, a child psychologist, were repressive. Stern and Bouhoutsos both opposed films about rebellion against the Establishment or movies with the "theme of insurrection," preferring to give them restricted ratings. The repressiveness amounted to making CARA another censorship body. Stern, it should be noted, was a psychiatrist. The authors contend that their psychological theories about the possible damaging effects of movies on children were unproven. However, they warned that psychologists and psychiatrists may well impose controls over movies no less severe than those imposed earlier by the Catholic Church. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship motion pictures and popular culture motion pictures motion pictures, and censorship censorship, and motion pictures classification, and motion pictures motion pictures, and classification CARA CARA, and psyhologists CARA, and censorship CARA, and themes of rebellion Stern, Aaron CARA, and Aaron Stern critics Farber, Stephen Insiders Rate Film Code Board as 'Unreformed' 6170 Charney, Leo and Vanessa R. Schwartz eds. Cinema and the Invention of Modern Life Berkeley University of California Press
1995
The essays in this volume vary in quality and are divided into four sections. 1) “Bodies and Sensation” contains essays by Tom Gunning, Jonathan Crary, and Ben Singer. “The essays explore such techniques as photography, detective fiction, scientific psychology, Impressionist painting, the mass press, and ‘thrilling’ entertainments, all of which endeavored to regulate and manage the newly mobilized subject.” 2) “Circulation and Consumer Desire” has essays by Marcus Verhagen , Erika Rappaport, Alexandra Keller, and Richard Abel. They “elaborate a culture of market mechanisms that challenged boundaries between private and public spheres and reconstituted gender and national identities. These essays also make clear that cinema participated in but did not create an urban leisure culture that pivoted on women’s active participation.” 3) “Ephemerality and the Moment” features essays by Margaret Cohen, Jeannene Przyblyski, and Leo Charney. They “suggest that modernity resided in an immersion in the everyday; yet the everyday was, by definition, ephemeral. In response to this problem, such forms as panoramic literature, photography, and film endeavored to freeze fleeting distractions and evanescent sensations by identifying isolated moments in the ‘present’ experience. In these literary, artistic, and philosophical discourses, the negotiation between ephemerality and stasis emerged as a defining feature of modernity.” 4) “Spectacles and Spectators” has essays by Venessa R. Schwartz, Mark Sandberg, and Miriam Bratu Hansen. They “investigate the allure of such diverse phenomena as wax museums, folk museums, amusement parks, and cinema in the development of a mass audience.”
These essays identify six elements of “modernity” and ways in which cinema relates to the “modern”: 1) “the rise of a metropolitan urban culture leading to new forms of entertainment and leisure activity; [2] the corresponding centrality of the body as the site of vision, attention, and stimulation; [3] the recognition of a mass public, crowd, or audience that subordinated individual response to collectivity; [4] the impulse to define, fix, and represent isolated moments in the face of modernity’s distractions and sensations, an urge that led through Impressionism and photography to cinema; [5] the increased blurring or the line between reality and its representations; and [6] the surge in commercial culture and consumer desire that both fueled and followed new forms of diversion.” photography seeing at a distance reality preservation modernism modernism modernity modernism history, and new media non-USA history values posters new way of seeing motion pictures modernity leisure history motion pictures photography and visual communication modernism, and cinema values, and motion pictures color color, and movie theaters color, and posters posters, and color France urban studies history, break with history, and cinema new way of seeing, and motion pictures leisure, and motion pictures crowds motion pictures, and audiences consumer culture capitalism reality v. representation motion pictures, and modernism values, and motion pictures audiences amusement parks consumerism Charney, Leo and Vanessa R. Schwartz eds. Cinema and the Invention of Modern Life 12950 Chase, William Sheafe Rev. Statement Hearings, Committee on Education, United States House of Representatives, House of Representatives, Sixty-Third Congress, Second Session on Bills to Establish a Federal Motion Picture Commission
(March 20, 1914)
21 Washington, D. C.: Government Printing Office, 1914 This statement came from a leading religious critics of motion pictures. Rev. Chase saw great moral damaged being caused by some types of films. government hearings values Christianity Christianity Protestants values archives motion pictures religion values morality values religion law censorship and ratings censorship government government documents hearings, U.S. House censorship, federal censorship, federal commission Chase, Rev. William Sheafe motion pictures, and critics motion pictures, and censorship censorship, and motion pictures morality,and motion pictures motion pictures, and morality Christianity, and motion pictures motion pictures, and Christianity Protestants, and motion pictures motion pictures and Protestants hearings critics values Chase, William Sheafe Rev. Statement 37620 Chatfield-Taylor, H. C. The 'Movies' Old and New The Dial
June 24, 1915
59 697 17-20 This article says that during the past 19 years, the movies have become the fifth largest industry in American and that "the motion-picture play -- or the photoplay, as it is technically called, -- far more than the stage play, has become the amusement of the nation." (17) The author goes on to say that "Indeed, the photoplay offers to the writer his widest means of artistic expression." And, "Better would it be to exclaim: 'I care not who makes the laws of the nation, if I may write its 'movie' plays!'" (17)
Chatfield-Taylor dismisses critics who consider the movies to be only "vulgar clap-trap" for they "know little of the possibilities of this new form of theatrical art. Scarcely eighteen years old, it is only within the last five years -- it might almost be said within the past year, -- that the photoplay has been developed into the multiple reel play, or the feature film, so-called." (18) He then considers the differences in write a stage play and a photoplay.
The requirements of movie acting differ from those on stage. "The slow, studying actor, whom the stage manager can by patience whip into a part, or the actor who depends upon reading rather than acting for his effects, will fail ignominiously before the camera," the author says. The "actor must possess a face which in the technical language of the 'movie' studio 'registers' effectively; more than one actor who succeeded because of his good looks on the regular stage has failed in the 'movies' because his features do not photograph well." (20) theater stage fame fame celebrity actors acting motion pictures, and photoplays celebrity culture fame personality motion pictures, and new art form motion pictures, and psychology theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and celebrity celebrity, and motion pictures fame, and motion pictures motion pictures, and fame motion pictures, and stars audiences media effects motion pictures, and audiences audiences, and motion pictures motion pictures, and acting acting, and facial expression motion pictures, and not facing camera acting, and not facing camera acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting motion pictures Chatfield-Taylor, H. C. The 'Movies' Old and New 33410 Checkovich, Alex Mapping the American Way: Geographical Knowledge and the Development f the United States, 1890-1950 University of Pennsylvania
2004
Abstract for this doctoral dissertation is from UMI ProQuest Digital Dissertations: "This dissertation is an environmental history of American cartography. It focuses on a family of applied field scientists who mapped the natural and economic landscapes of their diverse and rapidly developing nation. The geographical knowledge they produced had a dual character. It both facilitated the on-going development of the American landmass, and was itself a concrete development of field scientists' work within particular places, environments, and regions. From 1890 to 1950, a distinctive historical-geographical frontier for this kind of knowledge opened up which the cohort of mappers learned to exploit. The knowledge they created still informs our pictures of American resources, limits, and diversity. The dissertation makes three related historiographical contributions. First, it draws attention to an important kind of fieldwork. Mapping's constitutive practices (traversing, measuring, bounding, classifying) have their own distinctive histories that have gone largely ignored. These practices were in fact career strategies with their own virtues and pitfalls that grew apparent over time and in different places. Second, the dissertation fills a gap in the social history of cartography. Most histories of American cartography focus on the famous expeditions of the nineteenth century, not on the twentieth century's explosion in scientific and commercial maps. Similarly, most focus on maps' aesthetics, not on the environmental and institutional conditions of their production and use. Treating maps as technologies, as specialized social tools with origins in specific physical places, illuminates these neglected themes. Finally, the dissertation makes a contribution to our notions of public works, applied science, and development in general. Numerous spatial transformations unfolded upon American landscapes in this period; road networks, suburbs, airports, and planned regional developments were only a few. Intensive, detailed maps were a crucial component of this historical-geographical package. Indeed, land-use mapping itself evolved as a distinctive form of land use suited to environmental conditions in the post-frontier republic. The knowledge embodied in such maps, while always contingent upon local practices and places, actually played a basic role in the nation's physical and economic development." visual communication visual culture cartography visual culture, and maps geography, and cartography geography maps references, statistics, timelines, maps Checkovich, Alex Mapping the American Way: Geographical Knowledge and the Development f the United States, 1890-1950 640 Chen, Jiunn-Shyong The Development of Photography under the Government of Japan in Formosa (Jihchu shichi de Taiwan hsiejan fachang) Taipei, Taiwan Master's Thesis, Catholic Fu-Jen University (Fu-Jen ta hsue)
1995
Although the history of photography in Taiwan began during the nineteenth century, studies on history and theory of photography in Taiwan are still tenuous. This master thesis seeks to be a history of photography in Taiwan during the Japanese colonization, and attempts to understand how photography (hsiejan-shiashin) developed within political, economic, and social perspectives. The study starts with locally published photographic albums as analytical subjects, and then focuses particularly on the work by the Taiwanese photographers. The author finds that during the Japanese colonial period, photographers tended to belong to higher social classes. Many characteristics of contemporary Taiwanese photography have roots in the colonial period, such as collection of photographs by the ruling class and the nature of amateurism. One interesting finding of this study is that the emergence of salon photography during the Japanese colonial period was due to the escapism from the government’s surveillance. Because Japanese photographers residing in Taiwan were sent back to Japan after the second World War, academic or practical photographic techniques during the Japanese colonization gradually disappear. Photography shifted drastically as more photographers arrived from Mainland China, thus creating differences in techniques and aesthetics between the two periods.
-- Amy Chu nationalism imperialism photography cultural imperialism non-USA Chu, Amy Masters thesis photography and visual communication Taiwan Taiwan, and photography photography, and Taiwan Japan Japan, and Taiwan photography, and Japan (in Taiwan) Japan, and photography nationalism and communication nationalism, and photography cultural imperialism, and Japan photography, and China (in Taiwan) Chen, Jiunn-Shyong The Development of Photography under the Government of Japan in Formosa (Jihchu shichi de Taiwan hsiejan fachang) 680 Chen, Jo-Shui A Tentative Discussion of the Application of the Electronic Database of Classical Chinese Texts in the Institute of History and Philology Disquisitions of the Past & Present (Ku chin lun heng)
Oct. 1998
1 53-57 computers Asia history and new media preservation archives computers non-USA computers and the Internet China computers, and libraries preservation, and electronic media computers, and libraries (China) information storage information storage, and China history Chen, Jo-Shui A Tentative Discussion of the Application of the Electronic Database of Classical Chinese Texts in the Institute of History and Philology 39080 Cheney, Margaret// Robert Uth Tesla: Master of Lighting New York Barnes & Noble Books
1999
This well-illustrated, 173-page work offers a history of Nikola Tesla's life and inventions. It also has a good bibliography (175-78) on Tesla. This book deals with Tesla's work with electricity and other topics such as his attempt to build a particle beam weapon (or death ray) ("A Weapon to End War," the title of Chapter 15). death rays Biography, Autobiography, Oral Histories innovation networks lighting biography, and Nikola Tesla networks, electrical lighting, fluorescent and neon remote control wireless communication inventors inventions robotics artificial intelligence and biotechnology Tesla, Nikola radio artificial intelligence and biotechnology Edison, Thomas Westinghouse, George Marconi, Guglielmo Edison, Thomas, and Nikola Tesla Westinghouse, George, and Nikola Tesla Marconi, Guglielmo, and Nikola Tesla death rays, and Nikola Tesla Grindell-Mathews, Harry, and death rays electricity electricity, and Nikola Tesla robotics, and Nikola Tesla remote control, and Nikola Tesla Tesla, Nikola, and particle beam weapon lighting biography Cheney, Margaret// Robert Uth Tesla: Master of Lighting 10190 Cherry, Colin The Telephone System: Creator of Mobility and Social Change Pool, Ithiel de Sola ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
112-26 Cherry considers how inventions such as the telephone produce change. He wrote that there are rare occasions "in history when, through some remarkable human insight, discovery, creative work, or invention, human life and social institutions take a great leap.” Inventions such as the telephone are not in themselves revolutionary, nor do they cause revolutions. "Their powers for change lie in the hands of those who have the imagination and insight to see that the new invention has offered them new liberties of action, that old constraints have been removed, that their political will, or their sheer greed, are no longer frustrated, and that they can act in new ways.” The author drew parallels between the early use of the telephone and the computer. Both were at first seen as "adult toys." He noted, though, that person-to-person communication which the telephone enhanced was important to democracy. computers communication revolution inventions innovation community democracy telephones communication revolution telephones, and change computers and the Internet democracy and media inventions, and unintended consequences Cherry, Colin The Telephone System: Creator of Mobility and Social Change 260 Cherry, Colin compiled and edited by William Edmondson The Age of Access: Information Technology and Social RevolutionPosthumous Papers of Colin Cherry London; Dover, NH Croom Helm
c1985
Cherry finished only the first three chapters of this work before his death. He argued that “society is currently experiencing a second industrial revolution, consequent upon a widespread adoption of information technology.”
Cherry’s earlier work included On Human Communication: A Review, a Survey, and a Criticism (Cambridge, MA: MIT Press, 1957, 1966). communication revolution communication revolution, and second industrial revolution general studies second industrial revolution communication revolution information age Cherry, Colin Cherry, Colin compiled and edited by William Edmondson The Age of Access: Information Technology and Social RevolutionPosthumous Papers of Colin Cherry 30270 Cherry, Dick The Vietnam War as Filmed by U. S. Air Force Cameramen American Cinematograher
Sept., 1968
49 9 658-61, 706-07 This article discusses how cameramen were filming the Vietnam War. "Today, the state of the art is nearly as sophisticated as the supersonic airborne weapons systems it serves. To supply 'instant intelligence' on Vietnam missions, for example, color motion pictures shot by Air Force fighter-bombers are being processed in the field." (658) It was possible to produce a print within 45 minutes after a plane returned from a mission. Usually, though, film shot in the morning was available for viewing by commanding officers that evening, and within 24 hours, individual combat pilots could view film shot on their last mission.
This article mentions the "Helivision," "a gyro-mounted camera which eliminates the effect of aircraft vibration during photography." (660) It also discusses the use of a 70mm camera with a rotating prism, used intially for mapping. Formerly film from the 70mm camera took 20 to 30 days to process and was virtually useless for combat situations. Now, a positive print could be made only 40 minutes after technicians in the field get the raw film. lenses, zoom Steadicam news and journalism television cameras cameras, portable cameras, portable motion pictures, and portable cameras war war, and portable cameras news and journalism news, and portable cameras cameras, and zoom lenses zoom lenses cinematography military communication cameras, and anti-vibration Steadicam, origins 70mm 70mm, and combat film Helivision cameras, and Helivision news, and war film motion pictures news lenses Cherry, Dick The Vietnam War as Filmed by U. S. Air Force Cameramen 12520 Chester, Giraud and Garnet R. Garrison Television and Radio: An Introduction New York Appleton-Century-Crofts, Inc.
1950, 1956
1950 This book is a substantial text aimed at students during the mid-1950s who were interested in radio and television broadcasting. The authors note that when the first edition of the book appeared in 1950, there were 100 television stations broadcasting several hours per day and there were about 5 million sets. By 1956, 450 stations existed, some broadcasting up to 18 hours per day, and there were about 37 million sets. With regard to the technology of radio and television during this era, chapter 16 (“Technical Aspects of Radio”) and chapter 17 (“Technical Aspects of Television”) are perhaps most useful. These chapters discuss microphones, cameras, radio’s relation to the telephone network, color television, recording equipment, transmitters, the studio, and film and slide projectors. The work has a decent, but unannotated bibliography, including a section on “Techniques.” corporations corporations corporations Federal Communications Commission (FCC) advertising, and public relations censorship and ratings propaganda public relations journalism cinema motion pictures celluloid film regulation education law news and journalism radio television microphones cameras, and television film, and television television, and film radio, and telephone network telephones, and radio telephones sound recording sound recording, and radio sound recording, and television color color, and television television, and home advertising advertising, and television advertising, and radio regulation, and television regulation, and radio FCC CBS NBC education, and television education, and radio radio, and education television, and education news, and television news, and radio radio, and news television, and news radio, AM radio, FM news cameras regulation home, and television materials home Chester, Giraud and Garnet R. Garrison Television and Radio: An Introduction 5450 Chew, V. K. Talking Machines 1877-1914: Some aspects of the early history of the gramophone London Her Majesty’s Stationery Office
1967
This brief, 78-page book, surveys early sound recording. labor sound recording music sound recording office, and information technology information technology sound recording gramophone phonograph sound recording, and music information technology, and office sound recording, and office office Chew, V. K. Talking Machines 1877-1914: Some aspects of the early history of the gramophone 41570 Chicago Motion Picture Commission Report: Chicago Motion Picture Commission Chicago np
1920
This Commission emphasized the negative impact that movies had on the education of young people. The report asked why should the community turn over this important function of educating the young to amoral movie makers? The work assumed that movies had a much more powerful effect on children than books. As Carl Roden, Librarian of the Chicago Public Library said: "'We do not approve of putting books out without restriction. We want to feel that the books on the shelves will not harm any one. A film can be absolutely absorbed merely by seeing it. It is probably the easiest way to receive impressions that the world has yet discovered.'" (17)
This work comments on the powerful appeal that movie actors had on children. "Emphasizing the great interest that school children take in the movies, it may be well to give the experiences of Principal Stephenson, of the Lincoln 19/20 Public School, Chicago, during the Liberty Loan Drive. Mr. Stephenson appeared before the Commission, and explained the incident of the visit to his school of Charley [sic] Chaplin, Mary Pickford and Douglas Fairbanks. He said in part:
"'I simply marvel at the power of the movies. It was my school which Miss Pickford, Mr. Chaplin and Mr. Fairbanks came to visit last year. You will remember that they "blew in" here and went to a school and spoke to the children. That happened to be the school of which I am principal. I never have in all my life seen the electrical, wonderful grasp that those people had over a school. Why, they seemed to take it right off of our hands. We were nothing when these people came along. Their power was marvelous. It interfered with our studies completely. Everybody was as light as though they had inhaled some laughing gas.'" (19-20)
Speaking of the government's use of film during World War I, the Report says that "No such publicity power has ever been known to the world." (20) nationalism government celebrity audiences government hearings values religion theaters morality education censorship and ratings children law censorship and ratings censorship celebrity culture government motion pictures and popular culture motion pictures, and morality children, and motion pictures motion pictures, and children morality, and motion pictures censorship, local censorship, Chicago government documents, local critics, and morality morality, and critics motion pictures, and critics censorship, local theaters, and motion pictures motion pictures, and theaters motion pictures motion pictures, and actors' status motion pictures, and celebrity culture celebrity culture, and motion pictures hearings hearings, Chicago government documents hearings critics education, and motion pictures words vs. images images vs. words media effects children and media media effects, and children motion pictures, and children actors, and status of celebrity culture actors, and children children, and actors propaganda nationalism and communication motion pictures, and propaganda propaganda, and motion pictures nationalism, and motion pictures motion pictures, and nationalism World War I World War I, and motion pictures motion pictures, and World War I acting actors war Chicago Motion Picture Commission Report: Chicago Motion Picture Commission 3470 Child, John Ray Loveridge Janet Harvey and Anne Spencer The Quality of Employment in Services Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
419-38 See also: office New information technology is rapidly changing jobs in banking, health care, and retailing. This piece was presented to the annual meeting of the British Association for the Advancement of Science, at the University of Sussex, England, in August, 1983, and appeared in the conference's proceedings New Technology and The Future of Work and Skills (London: Frances Pinter, 1984). computers non-USA information technology computers and the Internet Great Britain information technology,and capitalism information technology, and health care labor automation capitalism Child, John Ray Loveridge Janet Harvey and Anne Spencer The Quality of Employment in Services 2540 Chisholm, Brad Widescreen Technologies Velvet Light Trap
Summer 1985
21 67-74 See filed under Velvet Light Trap. This article examines the "technological differences between each of the major widescreen processes that were instituted by the Hollywood film industry between 1952 and 1962." widescreen motion pictures materials 70mm motion pictures and popular culture motion pictures, and widescreen widescreen, and motion pictures 70mm, and widescreen widescreen, and 70mm materials Chisholm, Brad Widescreen Technologies 630 Chiu, Chi-Lin Photography and Cinema: The Concept of "Reality" and Its Discursive Transformation (Sheying yu Tianyin: Jangshi gainian de luanshu yangbian) Taipei, Taiwan Master's Thesis, Catholic Fu-Jen University (Fu-Jen ta hsue)
1997
In the beginning, photography and motion picture aimed to record slices of real life. However, as they were developed into the realm of art, the subjects inevitably departed from reality and gradually became incorporated with verbal language. And motion pictures, through editing processes, offered different imagery worlds. This master thesis studies the development of photography and motion pictures. Based on the emergence of different aesthetic theories and ontology, this research searches for the conversation on the concept of “reality” and explores the relationship between these media in terms of theories, technological innovations, and practices. Within the interaction between the two media, this study also attempts to find the conceptual and empirical reciprocity, and then returns to Hastrup’s skepticism of the “truthfulness” of imageries.
--Amy Chu photography motion pictures non-USA Chu, Amy Masters thesis Taiwan photography and visual communication photography, and reality (Taiwan) motion pictures and popular culture motion pictures, and Taiwan Chiu, Chi-Lin Photography and Cinema: The Concept of "Reality" and Its Discursive Transformation (Sheying yu Tianyin: Jangshi gainian de luanshu yangbian) 670 Chiu, Chiung-You History and Future of Electronic Publishing Information Management for Buddhist Libraries (Fochiao tu shu kuan kuan hsun)
Sept. 2000
23 6-17 computers Asia print print culture archives non-USA China computers and the Internet print v. electronic (China) information storage information storage, and libraries (China) Chiu, Chiung-You History and Future of Electronic Publishing 9200 Chomsky, Noam Necessary Illusions: Thought Control in Democratic Societies Boston South End Press
1989
This book, based on a series of lectures by Noam Chomsky, provides an outline of his theories on the press and press manipulation. Chomsky argues that the mass media should be seen as an instrument by which corporate elites manage information, maintain social control, and retain political and economic power. Chomsky believes that the corporate nature of the mass media ensures that they share the same goals and motivation as other powerful corporations. To Chomsky, the government, a far lesser threat to freedom, is an active supporter of the corporate agenda and acts to ensure that business interests are enhanced at home and abroad. These institutions seek to create the “necessary illusion” of democracy, freedom of information, and informed debate. In actuality, none of these exist in any meaningful form.
Chomsky has described a propaganda model of the press in his previous work, and this book offers more discussion and examples of this model in practice. Scholars looking for a fully detailed explanation of the model should read Manufacturing Consent. This book, however, includes a series of updated examples of how the media can shape the range of policy debate by avoiding or playing down certain stories, and how almost all coverage of any issue falls within a narrow, pro-corporate domain. Chomsky argues that the corporate press and the state set the terms of discussion and thus limit democratic deliberation.
Chomsky also discusses ways in which certain leaders or groups are cast as “terrorists” or “leftists” if they are opposed to American corporate initiatives. This often misleading or simplistic representation leads to an artificially constructed understanding of foreign policy. This book, and all of Chomsky’s work, provides excellent examples of this process in the Middle East, Vietnam, and Latin America, as well as domestically. Chapter 1 (pp. 1-20) is entitled "Democracy and the Media."
--Rob Rabe nationalism corporations corporations, multinational values religion propaganda public relations advertising journalism news news and journalism community democracy freedom news and journalism non-USA values news political economy political economy news, and capitalism capitalism, and news democracy and media critics values, and media news, and corporate bias multinational corporations stereotypes propaganda freedom of information news bias capitalism news news magazines newspapers radio television news, and capitalism nationalism and communication Rabe, Rob public relations advertising and public relations Chomsky, Noam Necessary Illusions: Thought Control in Democratic Societies 9630 Chomsky, Noam On Power and Ideology: The Managua Lectures Boston South End Press
1987
; media effects See also: media convergence See also: mass media Chomsky writes that “the basic question reduces to this: To what extent is the United States a democratic society, in which the general population is able to influence public policy? ... One crucial dimension in terms of which one can evaluate the democratic credentials of some political system has to do with the power of the state to coerce its citizens and protect itself from their scrutiny and control, its power to prevent free expression and free association, to maintain state secrets and conduct its affairs without public awareness and influence.” nationalism corporations corporations, multinational journalism community democracy news and journalism non-USA news political economy media democracy and media critics media bias multinational corporations news, and corporate bias news, and capitalism nationalism and communication Chomsky, Noam On Power and Ideology: The Managua Lectures 1200 Christensen, F. M. Pornography: The Other Side New York Praeger
1990
See also: violence See also: sexuality Pornography: The Other Side is a response to the common, yet myopic view, that pornography is strictly harmful and nothing else. Christensen, at times a critic of experimental pornography research himself, argues that the increasing power of the feminist and moral-right movements have lead to stricter regulations on pornography as well as decreasing public sentiment. He also argues that since the decision-makers, such as those leading the 1986 Final Report on Pornography, entered into the fray with there decision in handpornography is bad and we must find ways to regulate it. An additional consideration is the shame and guilt that are levied on those that do use pornography. What is missed, according to Christensen, are the potential positive uses of pornography such as stimulation, use in sexual therapy, and as a tool in sexual relationships.
--Michael Boyle women, and new media women social science research sexuality motion pictures Boyle, Michael pornography media effects pornography, and defenders women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects pornography, and positive effects Christensen, F. M. Pornography: The Other Side 13190 Christie, Ian The Last Machine: Early Cinema and the Birth of the Modern World London BBC Educational Developments
1994
Commissioned by the BBC to celebrate movie making’s centennial in 1996, this work places film in the context of the larger technological revolution taking place during that century. Particularly noted are the changes in transportation and the extent to which this encouraged immigration and created the immigrant populations that made up the movies’ first large group of customers. Christie is particularly interesting in discussing realism in the movies and its relationship to industrialization. When the modern world finally became too complex and obtrusive as a result of industrialization, the movies served as a refuge and helped create a collective fantasy life for the twentieth century.
--Gordon Jackson motion pictures, and sexuality sexuality photography time and timekeeping time seeing at a distance modernism new way of seeing motion pictures and popular culture motion pictures new way of seeing, and motion pictures motion pictures, and new way of seeing motion pictures, and history motion pictures, and sexuality motion pictures, as new technology photography and visual communication photography, and sexuality motion pictures, and immigrants transportation, and motion pictures transportation motion pictures, and transportation time space (spatial) motion pictures, and time motion pictures, and space (spatial) Jackson, Gordon motion pictures, and realism motion pictures, and escapism Christie, Ian The Last Machine: Early Cinema and the Birth of the Modern World 700 Chu, Li Re-Examination of the Model of 'Communication and National Development' Mass Communication Research (Hsinwenhsue yanjiu)
Sept. 1992
46 111-29 nationalism Third World non-USA nationalism and communication Third World, and new media national development, and communication Chu, Li Re-Examination of the Model of 'Communication and National Development' 41000 Churchill, Douglas W. Hollywood's New Color Scheme New York Times
Jan. 31, 1937
159 This article discusses the Dunning Process, developed by Carroll H. Dunning, for making color motion pictures. It covers how the Dunning Process works and how it differed from Technicolor. censorship censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Dunning Process Dunning Process cameras, and Dunning Process cameras color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and novelty color, and Robert Edmond Jones Technicolor, and two-color process Technicolor, and three-color process lighting lighting, and motion pictures motion pictures, and lighting color, and lighting lighting, and color color, and Technicolor Technicolor Churchill, Douglas W. Hollywood's New Color Scheme 28660 Clapperton, Robert Henderson Modern Paper-Making Oxford Basil Blackwell
1952
This, the third edition of Clapperton's book, covers then recent advances in wood pulp and pulps from other materials in Great Britain, Scandinavia, and North America. The author notes that "quite revolutionary changes in the methods of preparation of paper-stock have also taken place, and new machinery has been introduced, which in some cases has made obsolete the plant which was in use before the war. [World War II] There have also been important improvements in the use of suction-rolls and vacuum transfer on the paper-machines, and very definite improvements in the paper-finishing equipment, such as slitters and cutters. The book's twenty-seven cover such topics as the history of papermaking and the manufacturing of newsprint. This edition has advertisements for different papermaking plants. illustrations Asia paper materials papermaking timelines, and papermaking references, statistics, timelines, maps China China, and papermaking bibliographies, and papermaking printing printing, block Egypt Egypt, and block printing India India, and papermaking non-USA Japan Japan, and papermaking Korea Korea, and papermaking papyrus paper, and papermaking machines parchment patents, and papermaking inventions, and papermaking paper, and watermarks illustrations paper, and wood pulp bibliographies inventions patents print timelines Clapperton, Robert Henderson Modern Paper-Making 2640 Clark, Joel P. and Merton C. Flemings Advanced Materials and the Economy Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
163-78 The authors, who at the time were at MIT, argue that “materials science sets limits to the rate of economic growth but that advanced materials have the potential to solve basic problems such as the finiteness of nature resources.” Computers can make complicated decisions about which materials and production processes should be used, but using advanced materials may pose hazards to the environment and to health. This article originally appears in Scientific American, Vol. 255, no. 4 (Oct. 1986). computers materials computers non-USA materials information technology computers and the Internet general studies materials revolution information technology, and health information technology, and environment Japan computers, fifth generation Japan, and supercomputers Clark, Joel P. and Merton C. Flemings Advanced Materials and the Economy 39280 Clark, Kate Upson A Tainted Drama and Press The Independent
Dec. 10, 1896
48 2506 7 The author offers a dour assessment of both the theater and the press. She begins by talking about a mother who took her daughters to the theater but they had to leave "blushing all over." Then there was another mother who took her 15-year-old boy to the theater. "The play in question was a dream of color and of art, but its voluptuous beauty could not cover its sensuality." Another lady is quoted as saying that "'it could not fail to leave foul marks upon the soul of every one who listened to it.'"
Clark then takes on French literature and the modern press. First, "it must be remembered that the whole literature of the French is tainted with moral impurity.... To the wholesome Saxon mind, the very idea of the French drama is repugnant. It revels in a heated and noxious atmosphere which sickens our honest nostrils." But French culture has also infected other parts of modern life. "There are lectures and readings and concerts, tho the echoes of French prurience have largely invaded our music also. Amusement, if it cannot be found without debilitating and debasing us, had better be dispensed with," Clark advises. Then there was the press, the "large daily journals." "These papers stand constantly on the very verge of obscenity, and print every day, in blunt English, tales of shame and crime, elaborated to nauseous detail; tales which, from every possible motive, should be untold, or mentioned only in the coldest and briefest manner. The sole effect of these sensational narratives is to corrupt society. Creatures whom decent people never wish to know or to see, are pictured, with their homes, their relatives, their very cats and dogs, in these widely read pages. Their silly or wicked deeds are recited at length under enormous 'scare-type' heads. Unspeakable men and women, most of them fit only for our prisons and reformatories, are thus often made the topics of town talk." Clark says that the "four or five 'great journals'" in American cities "as now conducted" are "powerful engines, deliberately planned to inflame the lowest curiosity and the basest passions of men, in order that the owners themselves may become rich.... But nothing which these scavengers of vice could do can atone for their salacity, and for the manner in which they search out and unfold demoralizing tales of crime...." journalism children anti-theatrical bias censorship actors acting critics critics, religious motion pictures theaters motion pictures, and theaters theaters, and motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings modernity modernity, and theater theater, and modernity sexuality motion pictures, and sexuality sexuality, and motion pictures actors, and bias against actors, and status of theater, and bias against anti-theatrical prejudice critics, and acting critics, and actors critics, and theater audiences audiences, and immoral plays media effects audiences, and media effects media effects, and audiences theater, and class children and media theater, and children children, and theater critics critics, and French literature theater, and French literature values values, and French literature immorality, and French literature modernity, and French literature news and journalism critics, and newpapers journalism, and critics critics, and journalism privacy privacy, and newspapers newspapers, and privacy values, and newspapers women women, and theater color color, and sensuality sensuality, and color color, and immoral theater modernity, and French literature obscenity, and newspapers immorality obscenity theater Clark, Kate Upson A Tainted Drama and Press 35690 Clark, Kenneth et al. Report of MPAA Subcommittee on Self-Regulation Dore Schary Papers
Oct. 11, 1956
Folder: "Motion Picture Assoc 1953, 1956," Box 20, Dore Schary Papers, Wisconsin Historical Society, Madison, WI In early 1956, MPAA president Eric Johnston appointed a committee of four studio executive and himself to make suggestions for revising the movie industry's Production Code. The work was farmed out to a subcommittee chaired by Kenneth W. Clark and composed of J. Raymond Bell, Paul J. Quinn, Robert J. Rubin, Sidney Schreiber, and PCA director Geoffrey Shurlock . On Oct. 11, 1955, they made several recommendations for abandoning social taboos that included miscegnation, abortion, drug addiction, prostitution, and kidnapping. They also made recommendation about streamlining the Code's approach to profanity. self-regulation motion pictures censorship and ratings Production Code (1956) motion pictures, and abortion motion pictures, and miscegnation motion pictures, and drugs motion pictures, and prostitution motion pictures, and language motion pictures, and kidnapping children and media violence motion pictures, and violence Production Code, and decline of Johnston, Eric Shurlock, Geoffrey Johnston, Eric, and Production Code Production Code, and Eric Johnston Production Code, and Geoffrey Shurlock Production Code, and Kenneth Clark children Production Code Clark, Kenneth et al. Report of MPAA Subcommittee on Self-Regulation 1060 Clark, Paul F. Building More Effective Unions Ithaca, NY ILR Press
2000
119-22 See also: office Clark provides examples of the use of computer technology, especially, e-mail for union activity. He noted that the United Food and Commercial Workers used e-mail in 1997 to establish communication between workers trying to organize at a Borders bookstore in West Des Moines, Iowa, and workers who successfully organized a store in Chicago. The same union used e-mail in another organizing campaign in Manhattan and set up an Internet web site on how to organize. The International Association of Machinists also used e-mail and a web site to communicate during a United Airlines organizing campaign in 1998. “An increasing number of unions are mounting ‘cybercampaigns’ to get information out about, and mobilize support for, their disputes with employers.” He noted that the International Federation of Chemical, Energy, Mine, and General Workers used a cybercampaign in a dispute with General Tire, a multinational company based in Germany.
--Phil Glende computers email electronic mail computers non-USA Glende, Phil labor computers and the Internet labor, and computers computers, and labor electronic mail, and labor labor, and electronic mail labor, and Germany electronic media Clark, Paul F. Building More Effective Unions 880 Clark, Paul F. Union Image-Building at the Local Level Labor Studies Journal
Fall 1989`
14 3 48-68 See also: office Clark examines the problem for union public image and suggests approaches, activities and materials that can be used in labor education to address labor’s image at the local level. For example, for addressing media in shaping labor’s image, Clark recommends use of a slide/tape program entitled Changing Labor’s Image: Unions, the Media, and Public Opinion, produced at Penn State University, and the UAW pamphlet The Media Business. He also recommends using real examples of distorted, biased or inaccurate reporting about such issues as strikes to illustrate the importance of mass media image. Clark argues that national unions are working to shape public image but that it rarely occurs on the local level. “It is at this point that union members have the greatest opportunity, through day-to-day contact, to tell labor’s side of the story,” Clark writes. Suggestions include a public relations committee in the union local, having designated spokesmen, writing letters to the editor, and using cable and public television to reach a local audience.
--Phil Glende advertising, and public relations propaganda advertising Glende, Phil labor television labor, and public television public relations public relations, and labor labor, and public relations pamphlets, and labor labor, and pamphlets labor, and news pamphlets Clark, Paul F. Union Image-Building at the Local Level 20 Clark, Ronald W. The Rise of the Boffins London Phoenix House Ltd
1962
The term "boffin" refers to scientists who work with the British government during the 1930s, sometimes defined as "a civilian technician who advises air crew and others on specialized subjects." This book deals with the work of scientists in Britain before and during World War II and their impact on policy. It covers early investigations into stories about death ray weapons that might be build for air defense and notes that the Tizard Committee concluded by 1935 it was not possible with the technology that then existed to build such weapons. However, British scientists did believe that radio waves could be used to locate airplanes and this line of research led to the discovery of radar. non-USA Great Britain radar Great Britain, and radar Germany Germany, and radar radar, and Germany radar, and Great Britain radio Great Britain, and radio radio, and Great Britain death rays beam weapons Tizard, Henry Tizard Committee Great Britain, and death rays death rays, and Great Britain military communication Great Britain, and military communication military communication, and Great Britain Watson-Watt, Robert Jones, R. V. Lindermann, F. A. Wimperis, H. E. Clark, Ronald W. The Rise of the Boffins 7570 Clarke, Arthur C. The Challenge of the Spaceship: Previews of Tomorrow’s World New York Harper & Brothers
1958
1953 This interesting work offers insight into how a visionary writer viewed space exploration during the 1950s, before the transistor and computer had entered the equation. For example, Clarke predicted that only atomic energy would be able to carry large pay-loads outside the earth’s gravitational field. He says that scientists will be able to build “radio tubes miles long” if they so desire.
Clarke said that space exploration as one of four great turning points in human history. The first two were the development of agriculture and the harnessing of fire. The third was the splitting of the atom and the release of atomic energy, dating to 1942. Clarke advocated exploration of the planets and beyond. He believe that the spaceship would become “the ultimate toy that may lead mankind from its cloistered nursery out into the playground of the stars.”
Clarke thought that the space exploration might affect thought as profoundly as the Copernican revolution in astronomy, Darwinian evolution, and Freudian psychology. He speculated that artificial satellites would make weather prediction much more accurate and perhaps even lead (together with other technologies) to controlling the weather. A global system of satellite television would give any nation a tremendous advantage in imposing their culture on other parts of the world. He believed that it would make “the more extreme forms of nationalism” less likely. “Interplanetary travel is now the only form of ‘conquest and empire’ compatible with civilization,” he wrote.
The book is interesting, too, in giving some measure of how profoundly intellectual life has changed since the 1950s. It reflects an optimistic, no doubt naive, view about atomic energy’s potential to replace fossil fuels. Clarke notes that as late as 1947, it was commonly accepted that life could not have formed spontaneously, but rather its appearance needed some “organizing force,” perhaps “the hand of God.”
Yet Clarke’s work is forward looking. He discusses global warming , and the possibility of melting the South Pole, revealing the Antarctic continent and its rich natural resources buried beneath the surface.
The chapter “The Radio Universe” give an brief and informative account of the development of radio astronomy. Only in 1931 did Jansky discover radio signals coming from outer space in the general direction of the Milky Way. Clarke also discusses how radio astronomy after World War II used surplus radar equipment from the war. atomic power science nationalism astronomy preservation history, and new media future and science fiction war non-USA history World War II television space communication radio aeronautics and space communication science fiction satellites space travel future atomic energy global warming radio astronomy radar World War II, and radar satellite television television, and satellites future, and science fiction future, and space exploration rocketry, and atomic energy history, break with nationalism and communication nationalism, and satellites satellites, and cultural imperialism radar, and radio astronomy astronomy, and radio radio astronomy global communication rocketry military communication Clarke, Arthur C. The Challenge of the Spaceship: Previews of Tomorrow’s World 4480 Clarke, Arthur C. Extra-Terrestrial Relays: Can Rocket Stations Give World-wide Radio Coverage? Wireless World
Oct. 1945
11 10 305-08 Clarke argued that satellites and space stations would allow world-wide radio and television communication. While “many may consider the solution proposed in this discussion too far-fetched to be taken very seriously,” he wrote, “everything envisaged here is a logical extension of developments in the last ten years -- in particular the perfection of the long-range rocket of which V2 was the prototype.” He went on to say that “A true broadcast service, giving constant field strength at all times over the whole globe would be invaluable, not to say indispensable, in a world society.” Clarke also thought that atomic power would accelerate space exploration. "The advent of atomic power has at one bound brought space travel half a century nearer. He predicted that atomic powered rockets would be developed in less than two decades, and that they would make exploration of the planets possible. This interesting piece appeared twelve years before Sputnik. science future and science fiction non-USA aeronautics and space communication radio television satellites future science fiction rocketry atomic power rocketry, and atomic energy future, and satellites radio, and satellites global communication television television, and satellites broadcasting, global rocketry, and atomic energy broadcasting atomic energy Clarke, Arthur C. Extra-Terrestrial Relays: Can Rocket Stations Give World-wide Radio Coverage? 4270 Clarke, Arthur C. The Mind of the Machine Playboy
Dec. 1968
15 12 116-18, 122, 293-94 Clarke looks into the not-too-distant future and sees a time when artificial intelligence will likely surpass human intelligence. "Though we have to live and work with (and against) today's mechanical morons, their deficiencies should not blind us to the future. In particular, it should be realized that as soon as the borders of electronic intelligence are passed, there will be a kind of chain reaction, because the machines will rapidly improve themselves. In a very few generations -- computer generations, which by this time may last only a few months -- there will be a mental explosion; the merely intelligence machine will swiftly give way to the ultraintelligent machine."
Clarke traces fears about intelligence machines back to the late 19th century. In this piece, he also discusses artificial intelligence and automation, noting that machine may alleviate our need to work. He suggest that automation may have created more jobs than it has destroyed. In the future, Clarke predicted that few towns or cities will exist. "Most homes will be completely self-contained and mobile, so that they can move to any spot on Earth within 24 hours." Much of Earth will have reverted to wilderness and "will be much richer in life forms (and much more dangerous) than today." He concludes: "It may be that our role on this planet is not to worship God -- but to create him." And, in keeping with the Playboy ethic of the 1960s, "then our work will be done. It will be time to play." computers science future and science fiction values leisure artificial intelligence and biotechnology future science fiction leisure, and artificial intelligence artificial intelligence, and liesure automation computers and the Internet work ethic values, and artificial intelligence computers computers, and popular culture future, and artificial intelligence labor Clarke, Arthur C. The Mind of the Machine 7580 Clarke, Arthur C. Prediction, realization and forecast UNESCO Communication in the Space Age: The use of satellites by the mass media Paris Place de Fontenoy
1968
30-38 This essay was prepared in 1965, on the twentieth anniversary of Clarke’s “Extra-terrestrial Relays” article (May, 1945). Here Clarke predicts that “low-powered orbital shuttle vehicles” will be available by 1975 to service communication satellites. He also accepts the view that satellites will help lead to a world community. “‘Comsats’ will end ages of isolation, making us all members of a single family, teaching us to read and speak, however imperfectly, a single language,” he says.
Clarke sees the communication satellites as perhaps more of a new historical development than Wilbur Schramm, who also has an article in this volume. No group will “be more than a few milliseconds from any other. The social consequences of this, for good or evil, may be as great as those brought about by the printing press or the internal combustion engine.” He predicts much letter writing, “teaching English on a global basis," that we shall argue less and sleep less, and that the city will decline. “The traditional role of the city as a meeting-place is coming to an end; Megapolis may soon go the way of the dinosaurs in now resembles in so many respects.”
This volume was produced by the United Nations Educational, Scientific and Cultural Organization (UNESCO). nationalism space (spatial) and communication aeronautics and space communication United Nations communication revolution future and science fiction non-USA television space communication aeronautics and space (spatial) communication satellites space shuttle global communication satellite television television, and satellites global village nationalism and communication urban studies space (spatial) communication revolution future UNESCO future, and space (spatial) exploration satellites, and global village urban studies satellites, and cities rocketry Clarke, Arthur C. Prediction, realization and forecast 5830 Clarke, Arthur C. Profiles of the Future: An Inquiry into the Limits of the Possible New York Harper & Row
1962, 1973
This book first appeared in 1962 and grew out of essays written between 1959 and 1961. Here Clarke speculates about the future, not to “describe the future, but to define the boundaries within which possible futures must lie.” Clarke predicts planetary landings and personal radios by the 1980s, colonization of the planets and a global library by the first decade of the twentieth-first century, the control of gravity by 2050, and that during the latter part of the twenty-first century, machine intelligence will have exceeded human intelligence. One might compare this work to Ray Kurzweil’s later speculations in The Age of Spiritual Machines (1999). computers archives future and science fiction radio libraries libraries, and information storage information storage radio computers and the Internet future aeronautics and space communication radios, personal rocketry artificial intelligence and biotechnology libraries, and future libraries, and global information storage information storage, and future future, and information storage future, and radio future, and artificial intelligence satellites Clarke, Arthur C. Profiles of the Future: An Inquiry into the Limits of the Possible 4990 Clarke, Arthur C. Voice Acress the Sea New York Harper & Row
1959, 1974
Arthur C. Clarke (1917-2008) dedicates Voice Across the Sea to a vital engineering achievement: the submarine telecommunications cable. The book telling this story is divided into two sections: the first half is a romantic story about communications pioneering, the second half is purely scientific. Clarke’s goals are to entertain as much as to instruct. The entertainment part is by far the most interesting, as the author sheds light on unknown but important key figures of the era in which transatlantic communication systems were established by telling little stories and anecdotes that combine into a complete and pleasant to read history of the establishment of worldwide communications systems.
Clarke wrote: “In 1858 a handful of far-sighted men succeeded in laying a telegraph cable across the North Atlantic, and at the closing of a switch the gap between Europe and America dwindled abruptly from a month to a second.” (14)
-Bart Nijman telegraph electricity non-USA Great Britain Great Britain, and transatlantic cable transatlantic cable telegraph, and transatlantic cable Clarke, Arthur C. Nijman, Bart Field, Cyrus Morse, Samuel capitalism capitalism, and transatlantic cable transatlantic cable, and capitalism Clarke, Arthur C. Voice Acress the Sea 5180 Clarke, Arthur C. Voice Across the Sea New York Harper & Row
1959, 1974
This book was started soon after the laying of the first transatlantic telephone cable in 1956. It not only discusses the laying of cable, but Chapter 25 is about communications satellites, including Telstar. Clarke, also a science fiction writer, says that “technology may be possible without Civilisation; but Civilisation is not possible without Technology.” technology science future and science fiction non-USA values television satellites telephones telephones, submarine telephones, and transatlantic telephones, and satellites future satellites, and communication technology and society values, and technology Telstar science fiction global communication cable, submarine aeronautics and space communication cable cable, Atlantic cable, transatlantic satellites Clarke, Arthur C. Voice Across the Sea 37190 Clarke, Arthur L. Report of Big Fight at Napal Chicago Tribune
Oct. 14, 1899
1 This article reports K. L. Dickson is making moving pictures of the Boer War. "Kennedy L. Dickson, who accompanies General Buller to take moving pictures of the battles, is praised by the papers as a hero, and they say he is doing the people a great service in showing just how the troops act under fire." The sub-title of this article reads: "British Troops Said to Have Repulsed the Boers North of Ladysmith. First Blood of the War. Fifteen English Soldiers Believed to Have Been Killed in Attack on Armored Train. Buller To Sail Today." history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing history and new media motion pictures, and history history, and motion pictures war war, and motion pictures motion pictures, and war Dickson, W. K. L. motion pictures, and Boer War Clarke, Arthur L. Report of Big Fight at Napal 8920 Clarke, I. F. The Pattern of Expectation New York Basic Books
1979
future and science fiction future Clarke, I. F. The Pattern of Expectation 8930 Clarke, I. F. Prophesying War, 1763-1984 London Oxford University Press
1966
future and science fiction future Clarke, I. F. Prophesying War, 1763-1984 8720 Clarke, Joel P. and Frank R. Field III with John V. Busch Thomas B. King Barbara Poggiali and Elaine P. Rothman How Critical Are Critical Materials? Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
273-86 The potential shortage of critical materials (e.g., because of disruptions in politically unstable countries) will not shut down American industries and will, in fact, serve as a catalyst to find completely new materials. Ceramics and plastics, the authors believe, have especially promising potential. This piece appeared first in Technology Review (Aug.-Sept., 1985). nationalism communication revolution materials communication revolution, and second industrial revolution materials nationalism and communication materials revolution ceramics plastics second industrial revolution communication revolution Clarke, Joel P. and Frank R. Field III with John V. Busch Thomas B. King Barbara Poggiali and Elaine P. Rothman How Critical Are Critical Materials? 19740 Classification and Rating Administration Annual Reports (1969-1999) These annual reports provide information about the motion picture industry's Classification and Rating Administration, including how many movies received G's, PG's, PG-13's, R's, X's, and NC-17's. These reports can be found in the Papers of Richard D. Heffner, Private Collection, New York, N. Y. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) References, Statistics, Timelines, Maps censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA, Annual motion pictures and popular culture motion pictures motion pictures, and classification motion pictures, and X-rating motion pictures, and censorship motion pictures, and CARA motion pictures, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and Annual censorship, and CARA, statistics statistics, and movie rating system (U. S.) Heffner, Richard CARA statistics Classification and Rating Administration Annual Reports (1969-1999) 42580 Claxton, Philander P. The Booklovers of Tomorrow: Teaching Literature The Bookman
Jan. 1921
52 5 326-29 The movies were here to stay, acknowledged Philander P. Claxton, the United States Commissioner of Education in 1921, and he thought that they could be used by schools to promote the study of great literature. But the “careless contemplation of the screen” must never be allowed to “supplant the thoughtful reading of a book,” he said, not “if we are to avoid national deterioration.” (326, emphasis in original text) For Claxton, motion pictures could never be more than an aid to stimulate appreciation for great books and they could not inspire the ideals that came from “the habit of reading good literature.” Movies could not replaced reading nor should it be allowed to. “The moving-picture can present to the eye only such things as may be seen without its help. The purpose of literature … is not so much to present facts as it is to interpret life. The moving-pictures themselves need interpretation of the kind that can be given only through words. Most of the attempts to present literature through the film have not been successful,” he said. “Moving-pictures, like still pictures, are necessarily particular and concrete. The spoken word moves from the particular and concrete to the general and abstract.” (326) nationalism history words vs. images motion pictures education motion pictures, and education education, and motion pictures history and new media motion pictures, and history history, and motion pictures images vs. words democracy democracy, and motion pictures motion pictures, and democracy nationalism and communication nationalism, and motion pictures motion pictures, and nationalism nationalism, and reading nationalism, and education education, and nationalism nationalism Claxton, Philander P. The Booklovers of Tomorrow: Teaching Literature 42840 [Clay, W. R. The Alternative: A Study in Psychology London Macmillan and Co.
1882
W. R. Clay was one of the first psychologists, if not the first, to talk about the “specious present.” He called it a “fiction of experience” and separated it from the “obvious past” and the “real present.” (168) In 1890, William James in discussing this term in The Principles of Psychology (Volume I, p. 609), quoted a passage from Clay's work. space and time time and timekeeping time, and psychology specious present, origins [Clay, W. R. The Alternative: A Study in Psychology 27520 Clemmons, C. J. Jim Puzzanghera How a Ban Changed All Newsday
July 7, 1993
Nassau and Suffolk edition 7 In January, 1991, the nation’s biggest retailer of videos, Blockbuster, announced that it would not carry movies designated for adults only (the chain later considered unrated movies on a case-by-case basis). Pope John Paul II commended this decision. Blockbuster Video grew rapidly during the early 1990s and altered the dynamics of the video rental business. Between early 1991 and mid-1993, its outlets expanded from 1,600 to 3,000. The chain put many local video rental stores out of business. Many of these smaller concerns had carried NC-17 and X-rated films, and as they disappeared from the scene, speciality shops that offered adult rental entertainment moved in to fill the vacuum. By the end of 1992, K-Mart and Walmart had also refused to handle NC-17 films. These two outlets plus Blockbuster accounted for more than half of the video cassette sales in the United States. entertainment Classification and Rating Administration classification video cassette recorders (VCRs) self-regulation sexuality sexuality motion pictures, and sexuality entertainment, home Classification and Rating Administration (CARA) Blockbuster Video magnetic recording sexuality video rentals video sex censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures media effects media violence lesbianism home entertainment videotape magnetic tape law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA home home, and new media home motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism motion pictures, and sex motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating system (U. S.), and controversies NC-17 NC-17, and exploitation VCRs Blockbuster Video, and NC-17 NC-17, and Blockbuster video stores NC-17, and video home entertainment revolution video, and home home, and video Jim Puzzanghera How a Ban Changed All 270 Cleveland, Harlan The Twilight of Hierarchy: Speculations on the Global Information Society Bruce Guile, ed. Information Technologies and Social Transformation Washington, D.C. National Academy Press
1985
55-80 Cleveland examines five hierarchies and how new information technologies may weaken them. These hierarchies include power grounded in control, influence dependent on secrecy, class requiring ownership, privilege gained by early access, and politics grounded in geography. He concludes that the “informatization of society will force dramatic changes in some long-standing hierarchic forms of social organization.” nationalism power community democracy non-USA general studies global communication nationalism and communication control revolution secrecy class politics geography hierarchy democracy and media nationalism, and new media power, and new media Cleveland, Harlan The Twilight of Hierarchy: Speculations on the Global Information Society 41210 Clifford, C. R. The Relationship of Decoration to the Illuminating Engineering Practice Illuminating Engineer
April, 1910
5 2 62-65 In this article C. R. Clifford discusses the potential for improving the use of color and lighting in decorating the home and also in the theater. He discuss the "Restfulness of Warm-Toned Light" (63) and the "Danger of Overlighting" (63-64) "The home is the theater of life," he says. (64) He comments on the importance of lighting in the theater in the section "Lessons in Lighting to be Learned from the Theatre." (64) "Go to the mimic stage and observe the great work that is done there. No longer does the orchestra give the key to the emotion. We are not aroused to an extra heart beat by the shiver-music of the strings. It is the man with the light, and why? Because the play is always seen by artificial light, and whether the light simulates nature by daylight or moonlight the colorings on the stage are so selected that they are beautiful under the lights used and are not a discordant element, a sacrifice to the demonstrations of illumination." (64)
In a section entitled "Psychology of Light," (64-65) Clifford argues that color has a greater impact on some people than does music. "Chromotherapy is the science based on the effect of colored lights on the human body. For years Schopenhauer, as well as Herbert Spencer, searched for an explanation of the effects of music on the emotions, and yet the effect of color upon the nerves of nervous people is more distinctly shown than the effects of music." (64) He goes on the maintain that "Natures provides vast fields of green because favorable in its effect upon animals," (65) and that some "men of extreme sensibilities exposed to red light show excitement, giving increased muscular development." (65)
Clifford read this paper before the New York Section of the Illuminating Engineering Society on March 17, 1910. motion pictures lighting motion pictures, and lighting lighting, and motion pictures color color, and lighting lighting, and color color, and chromotherapy chromotherapy, and lighting lighting, and chromotherapy color, and red color, and green lighting, and theater theater, and lighting color, and emotions lighting, and emotions theater Clifford, C. R. The Relationship of Decoration to the Illuminating Engineering Practice 27060 Cline, Victor B. ed. Where Do You Draw the Line? An Exploration into Media Violence, Pornography, and Censorship Provo, UT Brigham Young University Press
1974
The article critical of the motion picture industry's rating system and what he believes to be entertainment that is too promiscuous. classification self-regulation CARA censorship and ratings rating system (U.S.) rating system (U. S.) values sexuality media effects media violence violence media effects violence media violence law censorship and rating system (U. S.) rating system (U. S.) censorship classification pornography pornography, and critics Heffner, Richard, and conservatives violence, and conservatives violence, and media media violence, and conservatives rating system (U. S.), and critics critics values Heffner, Richard media effects Cline, Victor B. ed. Where Do You Draw the Line? An Exploration into Media Violence, Pornography, and Censorship 22510 Clines, Francis X. Reagan See U.S. Regaining "Moral Bearings" New York Times
March 7, 1984
A 1 See also: media See also: violence See also: sexuality This article deals with President Ronald Reagan speech to the 42d annual meeting of the National Association of Evangelical in Columbus, Ohio and his hopes to combat pornography and secular humanism, and to raise the general level of national morality. Reagan described the 1970s as a time of rampant drug abuse, sexual promiscuity and abortion. "In recent years, we must admit, America did seem to lose her religious and moral bearings," the President said. conservatives nationalism values Christianity Reagan, Ronald presidents, and new media Reagan administration values archives sexuality sexuality nudity motion pictures mass media media effects crime values religion law censorship and ratings censorship Catholic Church pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography Reagan, Ronald, and nudity nudity, and Ronald Reagan Reagan, Ronald, and pornography Reagan, Ronald, and secular humanism Reagan, Ronald, and liberalism pornography, and evangelicals evangelicals, and pornography religion, and pornography pornography, and religion Reagan, Ronald, and religion Catholics, and pornography pornography, and Catholics critics values nationalism and communication nationalism, and morality critics values nationalism and communication nationalism, and morality nationalism, and Ronald Reagan Clines, Francis X. Reagan See U.S. Regaining "Moral Bearings" 6470 Cobb, Irvin S. ‘How to Act in Movies’ Told by Irvin S. Cobb New York Times
July 5, 1914
X 6 In this article, Cobb gives an account of his experience as a movie actor. Also under this headline, there is a paragraph saying that Woodrow Wilson had seen d’Annunzio’s Cabiria at the White House and that “the President pronounced it the most remarkable spectacle he had ever seen, and said it seemed almost unbelievable in its magnitude.” Wilson said the film “revealed new and wondrous possibilities in motion photography as a real art.” history words vs. images actors acting actors acting photography presidents and new media photography and visual communication motion pictures Wilson, Woodrow Wilson, Woodrow, and motion pictures motion pictures, and Woodrow Wilson Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words war motion pictures, and war war, and motion pictures motion pictures, history written with lightning Wilson, Woodrow, and Cabiria motion pictures, and acting acting, and motion pictures images vs. print Cobb, Irvin S. ‘How to Act in Movies’ Told by Irvin S. Cobb 39250 Cobbe, Frances Power The Love of Notoriety Forum
Oct. 1889
170-79 This article draws a distinction between fame and notoriety and argues that Americans, much more so than people from Great Britain, are eager to giver up their privacy for publicity. The author sees a decline in the classic kind of fame whereby one is recognized for great achievements. In 1890, the poet, politician, or soldier would rarely admit that they sought fame because "to admit that we thirst for fame, and act with a view to winning it, would be to make ourselves the laughing-stock of our contemporaries." (171) Cobbe continues by saying that "Such a change in the common estimate of a once universally-applauded passion is, of itself, noteworthy. It become still more singular when we find, growing up in the vacant place, a bastard-brother sentiment, the love of notoriety, and observe that though no man yet openly avows harboring this last in his breast, multitudes are credited with it both by friends and foes, and not thought much the worse of in consequence. To confess to the ambition for fame would be to fall into mock-heroics and bathos and become the mark of satire. To betray the love of notoriety may be slight vulgar, but readily passes muster as a rather amiable weakness by no means ridiculous, but, on the contrary, possessing many advantage, political and commercial." (171) The author concludes "that men have ceased to avow their desire to be renowned for 'things known to their advantage,' but are not ashamed of being supposed to desire to be renowned for things known to their disadvantage! Notoriety, in short, is fame, minus that element of honor and approval of the public conscience which rendered the thirst for it commendable. [emphasis in original text] Men in our own day, like gluttons, care for the quantity of their celebrity, not, like gourmets, for its quality." (172) [my emphasis] Later, the author says that "When we pretend to drop the desire of fame, it is only to fall into the love of notoriety; and of the two there can be no question but that the former is the nobler." (179)
For the British and many old-world Europeans, the idea of giving up privacy for notoriety was repellent. "To the man who inherits the old-world sentiments (or prejudices, whichever we may call them) in favor of privacy, it is impossible that notoriety, even of the most favorable kind, should not bring with it a sense of violence of the benséances, of being 'rubbed the wrong way,' of derogation of dignity, almost such as is felt by the poor inmate of an Eastern zenana [emphasis in original text] when brought unveiled into the street. On the other hand, a man or woman brought up with the sense of publicity, for instance, a person connected with the stage, generally accepts any amount of notoriety without roughening a hair." (174) [my emphasis]
The author believes there were national differences in attitudes toward publicity. "The difference extend to nations. On no subject do English and American tastes differ more widely than on the pains and pleasures of publicity. The average Englishman, from the highest to the lowest, entertains a profound conviction that privacy is an invaluable privilege for which it is quite worth while to barter, as regards his abode and grounds, light, air, and beauty; and as regards his domestic circle, all the intellectual pleasures of varied society." (174) Cobbe says that "Until the rise of the pestilent 'society papers' in London, no public journal described the homes, furniture, the dress, or the habits of eminent men and women,...." (174) (with the possible exception of the Morning Post). By contrast, "the invasion of a man's privacy, so far from being held to constitute an affront, is rather felt in America to involve a compliment." (175) [my emphasis] In the United States, "That anybody, young or old, male or female, should entertain an objection to being 'interviewed,' and described at length as to height, weight, complexion, features, dress, voice, manners, and habits, for the benefit of the world at large, or that he or she should shrink from seeing his or her parents, husband, wife, 175/176 brother, sister, son, or daughter exposed in a similar pillory, is an idea which seems never to occur to the contemporary American mind. On the contrary, an impression obviously prevails that to draw a man's portrait in pen and ink, even if it be a caricature, is a tribute of respect which ought to be accepted with gratitude." (175-76) In America, the public loves to hear about the notorious person; "there exists in the great Republic an all-pervading hunger for elaborate descriptions of human being, great, small, and mediocre, which has no counterpart in the British soul." (176) [my emphasis] Cobbe says that "It is the interest in nobodies, in men, women, and children whose achievements, if any, are of a wholly insignificant kind, which is so remarkable among Americans." (177) [my emphasis]
The author says that there is a connection between attitudes toward privacy and notoriety. "It would lead us too far to attempt to fathom the sources of these correlated sentiments, the indifference to privacy, and the excessive interest in people, which together combine to make the love of notoriety more prominent in America than it is, as yet, in England. A great deal of kindliness and genuine human sympathy must assuredly be at the bottom of both sentiments. We attach much importance to privacy only when wee have a certain shy mistrust of our fellow-creatures en masse. And, ... we can scarcely interest ourselves in ordinary people, unless we are richly endowed with sympathy and warm with the sense of human brotherhood. The manifestations of these feelings may be foolish or absurd or vulgar, but at the root they must be better and more wholesome than exclusiveness or indifference." (178)
If the love notoriety is to be good, it "must be the desire of notoriety for some excellence or bravery." (179) But the pursuit of a notoriety which little more than "the thirst for the applause of fools and scoundrels ... is a weakness deserving, not of the indulgence it commonly receives, but of contempt. (179) personality family fame fame photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and fame fame, and newspapers magazines, and fame fame, and magazines fame vs. notoriety notoriety vs. fame privacy privacy, and notoriety notoriety, and privacy fame, and privacy privacy, and fame news and journalism news, and fame news, and notoriety modernity modernity, and love of notoriety actors acting actors, and fame actors, and love of notoriety privacy, and newspapers newspapers, and privacy Great Britain non-USA Great Britain, and privacy Great Britain, and notoriety non-USA, and privacy non-USA, and notoriety privacy, and Great Britain fame, and Great Britain Great Britain, and fame privacy, and human nature celebrity magazines news photography Cobbe, Frances Power The Love of Notoriety 39610 Cobbett, W. J. Personal Magnetism The Phrenological Journal and Science of Health
Jan. 1902
113 1 3-6 This article attempts to explain what accounts for personal magnetism, a vague and ill-defined term. "Many and varied are the artificial means advertised whereby this enviable acquisition may be cultivated. It has been explained in many ways." (3) Cobbett offers five qualities. 1) "Great individual size or capacity ever attracts," he says. (4) So, too, does "large intellectual capacity: A large head, accompanied by a physiognomy expressing intellect, will, and balanced feelings...." (4) That "commands respect." (4) Cobbett comments on the eyes and facial features: "Intensity: High quality of organism and intellectual acuteness. Another individual, whose intelligent eye and thoughtful face many solicit a second glance, seems to possess but little power of attraction under ordinary circumstances. Yet in conversation and in certain situations his keen judgment, refined eloquence, lofty ideals, raise him in the estimation of those who thus become acquainted with him, and he soon exercises a magnetic influence over them." (5) Other qualities include: 4) "Harmony: A healthy, active organism with sentiments, feelings, and intellect, in harmonious activity." (5) And, 5) "Facility of function producing special talents...." (5) "High quality of personal magnetism ... obviously seems to depend upon the amount of energy conserved in the individual." (5) celebrity personality celebrity culture personality, and magnetism personality, and face personality, and eyes Cobbett, W. J. Personal Magnetism 30600 Cochrun, Crete M. Cashing In On Color Printers' Ink
Sept. 15, 1927
140 11 150, 153-54 This article argues that "color is the sex appeal of business" and that "there is hardly a product which sells to the general consuming public that cannot be sold more extensively with the aid of color." (150) advertising and public relations color capitalism media effects media effects, and color color, and advertising advertising, and color sexuality advertising, and sexuality sexaulity, and advertising advertising sex Cochrun, Crete M. Cashing In On Color 22520 Cockburn, Alexander Violence Has Become the Pornography of the '80s Wall Street Journal
June 19, 1986
1 31 See also: media See also: violence See also: sexuality This article notes a growing "militaristic spirit" in America and contrasts the Ronald Reagan's administration attack on pornography with its lack of a similar program against rising levels of violence in society. conservatives presidents, and new media Reagan administration sexuality motion pictures media effects media violence violence mass media media effects crime law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography pornography, and violence violence, and pornography pornography, defined Cockburn, Alexander Violence Has Become the Pornography of the '80s 38380 Cockerill, John A. Some Phases of Contemporary Journalism Cosmopolitan
Oct. 1892
13 6 695-703 Cockerill touches on a range of topics in this article. He says that "the most shocking thing about news, it seems to me, is the absolute lack of respect for privacy and decency which must attend its gathering." Despite all the marvelous technical advances in newspapers, it is "astounding" that one "should find nothing more worthy of presentation to the eye of the thoughtful man or woman than the most recent divorce, the most painful death, the most disgusting elopement that can be heard of by fair means or foul...." (697)
Cockerill goes on to say that "'Give the people what they want, and that, too, the very worst of it,'" seems to be "the guiding principle -- if that be so called which is the abnegation of all principle -- of sensational journalism." (698)
Cockerill worried about the growth of illustrated journalism. "Perhaps the most salient phase of contemporary journalism, to the non-expert view, is its illustration. The future of newspaper illustration is a grave problem. It is difficult to see how the better Sunday newspapers can very much more nearly approximate to weekly magazines, and yet there is every reason to believe that cheaper paper and more perfect mechanical processes will render them even more perfect in detail and appearance. I once heard a millionaire non-resident newspaper owner say: 'Any picture is better than no picture.' If one thinks of what this means, it is easy to see. Just as the sign language and picture alphabet appeal more cogently to the savage mind than any written characters can, so the picture on the front page of a newspaper, which is so folded as to best display that picture, not only catches the eye of the casual observer and buyer, but assists the reader's imagination and excites his curiosity. [my emphasis] News stand illustration is, indeed, a part of the newspaper business, just as big headlines are. The most attractive picture must be put on the upper fold of the first page, in order to serve its purpose as an advertisement to purchasers at the news stands. A casual comparison of such pictures, as the papers lies on the stands, all the pictures representing the same event or person -- say a prominent criminal who, of course, furnishes the most desirable subject matter of a newspaper illustration, provided the crime is still fresh -- is only necessary to create at once the impression that uniformity in pictures of the same person or thing -- in other words, pictorial veracity -- is absolutely unessential. Five great morning dailies may each have a picture of 'Jack the Ripper,' caught red-handed over one of his victims, and each of the five will represent the wretch in a different costume, with different weapons, of different sizes, different in personal appearance, with different features and widely divergent expressions of animal ferocity. What serious moral or public good can be accomplished by such illustration as this?" (701) sensationalism journalism ethics words vs. images magazines, and photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography, and photoengraving newspapers, and photo engraving privacy privacy, and newspapers privacy, and journalism journalism, and privacy newspapers, and privacy newspapers, and illustrations journalism, and sensationalism sensationalism, and journalism critics critics, and newspaper illustrations ethics values ethics, and newspapers illustrations values, and newspaper illustrations newspaper illustrations, and ethics images vs. words images vs. print magazines photography Cockerill, John A. Some Phases of Contemporary Journalism 12500 Codel, Martin ed. Radio and Its Future New York Harper & Brothers
1930
Although radio was still in its infancy in 1930, Lee DeForest notes in his essay on “The Future of Radio” in this volume that already there were 600 stations broadcasting to about 50 million Americans, in addition to many daily shortwave broadcasts from around the world.
This volume contains 29 essays divided, somewhat arbitrarily, among five broad themes: Broadcasting, Communications, Industry, Regulation, and Some Scientific and Other Considerations. In addition to DeForest, other contributors include: Martin Codel (“The Radio Structure”), William S. Paley (“Radio and Entertainment”), Major General James G. Harbord (“Radio in World Communications”), E. H. Colpitts (“Radiotelephony”), David Sarnoff (“Art and Industry”), and more. Other topics covered include radio in U.S. military and naval communications, short waves, long waves, radio and the law, and television. R & D nationalism corporations corporations corporations corporations FM radio advertising, and public relations censorship and ratings propaganda public relations public address systems labor networks research and development war materials materials General Electric Company Company future and science fiction education law law war office office, and new media office radio nationalism and communication television advertising, and radio advertising radio, FM frequency modulation (FM radio) radio, shortwave Sarnoff, David military communication Paley, William military communication, and radio radio, and national broadcasting radio, amateur De Forest, Lee AT & T transportation transportation, and radio aviation, and radio radio, and aviation bandwidth, and radio radio, and bandwidth regulation, and radio radio, and regulation CBS NBC wireless communication telephones telephones, and radio radiotelephony future, and radio education, and radio radio, and education General Electric Company radio, and international broadcasting international broadcasting KDKA law, and radio loudspeakers Marconi, Guglielmo microphones radio, and U.S. navy networks, and radio vacuum tubes vacuum tubes, audion infrastructure, and radio WEAF radio, and long waves infrastructure future regulation aeronautics and space communication Codel, Martin ed. Radio and Its Future 11840 Coe, Brian Cameras: From Daguerreotypes to Instant Pictures [New York] Crown Publishers, Inc.
1978
This well-illustrated book provides a good introduction to different types of cameras. Its 20 chapters are devoted to such topics as "The Evolution of Photography," "Concealed Cameras," "Magazines and Multiple Images," "Roll-Film Box Cameras," "The 35-mm Camera," "Small and Miniature Cameras," "Stereoscopic Cameras," "Lenses," "Flash Equipment," and more. photography materials 35mm photography and visual communication photography, and cameras photography, and 35mm cameras 35mm cameras cameras cameras, and flash equipment photography, and flash equipment photography, and roll-film cameras photography, and concealed cameras cameras, and roll film cameras, and history of cameras, and lenses photography, and types of cameras cameras, concealed cameras, and history of materials Coe, Brian Cameras: From Daguerreotypes to Instant Pictures 11850 Coe, Brian The History of Movie Photography Westfield, N. J. Eastview Editions
1981
This work, one of several books Coe’s has written on photography, examines cinema. The work starts in the eighteenth century and examines shadow plays, the camera obscura, and attempts to provide “illusions of reality.” Coe then deals with early photography and attempts by Eadweard Muybridge and others to capture movement. Chapter 4 discusses inventors such as Louis Le Prince, who first explored the possibilities of Eastman’s paper roll film, Thomas Edison and the Kinetoscope, William Dickson, and others. Chapter 5 treats early moving pictures projected onto screen, and explains such developments as the Lumiére Cinématographe show. Subsequent chapters consider the coming of sound in film, color movies, widescreen cinema and 3-D. The final chapters discusses home movie making and deals with 16 mm, 9.5 mm, and 8 mm photography.
This book is richly illustrated with black and white, and color photographs of camera technology. Although it covers developments from the end of World War II up to the early 1970s, it is strongest on the pre-World War II era. The author provide a brief, half-page bibliography at the end. Muybridge, Edward Lumiére, Louis illustrations entertainment entertainment, home photography widescreen new way of seeing seeing at a distance postmodernism modernism motion pictures inventions innovation information technology illustrations home entertainment materials non-USA 8mm 35mm 16mm photography and visual communication motion pictures photography, and color 8mm film 16mm film 35mm film 9.5mm film cameras cameras cameras, 16mm cameras, 8mm cameras, 9.5mm cameras, 35mm cameras, 70-mm information technology, and home photography, amateur photography, and 19th century photography, and color color color, and motion pictures motion pictures, and color color, and photography photography, and color (history of) photography, and hand-held cameras cameras, hand-held photography, and new way of seeing new way of seeing, and photography photography, and roll film photography, and three-color processes motion pictures, and 16mm film motion pictures, and 3-D motion pictures, and 8mm film motion pictures, and 35mm film motion pictures, and 9.5mm film motion pictures, and 70mm film motion pictures, and cameras motion pictures, and color motion pictures, and color (history of) motion pictures, and cinerama cinerama motion pictures, and celluloid motion pictures, and depth motion pictures, and cameras (history of) motion pictures, and new way of seeing motion pictures, amateur motion pictures, and home movies home movies motion pictures, and origins motion pictures, and sound technology motion pictures, and technological innovations motion pictures, and widescreen widescreen, and motion pictures inventors color, and Agfacolor cameras, and lens cameras, and Bell and Howell cameras, and Super-8 Edison, Thomas Dickson, W.K.L. CinemaScope Cinerama, and Fred Waller Daguerre, Louis Eastman, George IMAX Gaumont, Léon Lumiere, Auguste Lumiére, Louis Marey, Étienne-Jules Muybridge, Eadweard Photographic Convention, London (1889) camera obscura motion pictures, and projection equipment sound recording sound recording, and magnetic tape Technicolor Waller, Fred, and cinerama illustrations, and cameras motion pictures, and technology home home, and new media materials 9.5mm Coe, Brian The History of Movie Photography 12120 Coe, Brian Kodak Cameras: The First Hundred Years Hove, East Sussex, Great Britain Hove Foto Books
1988
The author was Curator of the Kodak Museum between 1969 and 1985. The Museum was located at the Kodak factory in Harrow, England, and much of the research for this work was done there as well as in the Kodak Research Laboratory Library. The book, however, was not sponsored by either Kodak Limited or by the Eastman Kodak Company. This work builds on earlier chronological lists of Kodak cameras – first by Vic Moyes of the Kodak Patent Department Museum in Rochester and then expanded by Don Ryon and later David Gibson. These early lists concentrated primarily on the United States, but Coe notes that many, sometimes different, Kodak cameras were produced in Great Britain, France, and Germany.
This book is more comprehensive than previous works on Kodak. It concentrates “on the ‘mainstream’ Kodak and Brownie cameras." It begins with a brief history of George Eastman and the Kodak Company. There follow descriptions and remarks about the many different cameras, each illustrated with a photograph. illustrations corporations corporations photography materials cinema motion pictures celluloid Eastman Kodak non-USA 35mm photography and visual communication photography Eastman, George Eastman Kodak Company Kodak cameras cameras, Kodak cameras, 35mm 35mm cameras cameras, Brownie cameras, instant film film, and Kodak Great Britain Great Britain, and Kodak cameras Germany Germany, and Kodak cameras France France, and Kodak cameras illustrations Great Britain Germany France materials Coe, Brian Kodak Cameras: The First Hundred Years 4070 Coe, Lewis The Telegraph: A History of Morse's Invention and Its Predecessors in the United States Jefferson, NC McFarland Press
1993
This brief book purports to tell the history of the telegraph’s invention in the United States. The author argues that for much of mankind’s history people have set up systems to signal others at a distance, and that the telegraph is merely an extension of that process. Coe limits his discussion to inventions and devices constructed in America, only briefly touching upon relevant European technology as a means for comparison or refinement.
Coe notes that both Native Americans and ancient Greeks used fire and smoke signals for long-distance communication. Through a system of pre-arranged codes (one fire, two fires, various puffs of smoke), a few simple ideas could be communicated rapidly to others far away, who in turn transmitted that signal to the next signal watchers. In a matter of minutes a simple message, such as “the enemy is on the march toward us,” could be sent by fire signal hundred of miles.
Coe’s discussion of pre-telegraph signaling methods includes both the semaphore system and the heliograph. The semaphore system usually employed flags displayed in different positions to communicate messages one letter or idea at a time. In late-eighteenth -century France there was a system of semaphores connected by long chains to facilitate automatic signaling. The semaphore system is still in use in the United States Navy and in other maritime services throughout the world. The heliograph is a way to communicate with small mirrors which reflected sunlight to an observer miles away. This system was employed by the U.S. Army in the nineteenth century.
Coe spends a good deal of the book cataloging the numerous improvements on Morse’s invention. He provides some detail about the introduction of Thomas Edison’s quadruplex telegraph, a device which made it possible to send four messages over the same line simultaneously. Coe spends the better part of two chapters examining the role of the telegraph in the Civil War, relating the exciting story of telegraph-tappers and other special telegraph units. Coe argues that the U.S. telegraph system was much more advanced than that in Europe, something the American signal corps found out upon arrival in France in 1917.
Although this book contains valuable information and fascinating tidbits, from a historian’s standpoint it is a problematic book. Coe offers no citations for the many quotations he uses. He overuses block quotes, tossing them in liberally without any introduction or explanation. He reproduces conversations and relays anecdotes as if he heard them himself, an impossibility for someone publishing in 1993. Coe’s bibliography is brief and mostly unhelpful for someone interested in tracking references.
In addition to the lack of citations or useable references, the writing itself detracts from the author’s presentation. Although the major figures in this book are given some biographical detail in an appendix, Coe introduces many other names without any biographical information at all. This book is poorly written, with awkward sentences, misplaced punctuation and a confusing narrative. In places it reads like a high school history text. Coe states the obvious too much frequenctly— e.g., “during the Morse era, there were no cassette tape recorders.”
This book is of value to students of the telegraph or mass communications, although not a definitive study.
--David Henning R & D war research and development military communication war innovation war non-USA World War I Information Age telegraph Henning, David telegraph, electric Morse, Samuel inventions inventors signaling systems networks information networks Europe, and telegraph World War I, and telegraph telegraph, and World War I Edison, Thomas telegraph, and quadruplex telegraph, optical semaphore system semaphore system, and U.S. Navy military communication military communication, and semaphore system heliography Europe World War I Coe, Lewis The Telegraph: A History of Morse's Invention and Its Predecessors in the United States 17440 Coe, Richard L. Senator Smith Vs. Violence in Films Washington Post
Feb. 4, 1968
This article covers Maine Senator Margaret Chase Smith's criticism of motion pictures which she believed had become too sexually explicit and violent. In June, 1968, Smith chair a brief Senate hearing on movie classification. A clipping of this article can be found in the Margaret Chase Smith Papers, Margaret Chase Smith Library, The Northwood Institute, Skowhegan, ME. classification self-regulation government hearings CARA advertising, and public relations censorship and ratings propaganda public relations values media effects media violence government law censorship and rating system (U. S.) rating system (U. S.) censorship classification violence Smith, Margaret Chase motion pictures and popular culture motion pictures violence, and motion pictures motion pictures, and violence classification, and motion pictures motion pictures, and classification hearings television television, and violence violence, and television advertising advertising, and TV violence violence, and TV advertising, critics values Coe, Richard L. Senator Smith Vs. Violence in Films 32580 Cohen, Allen The San Francisco Oracle: A Brief History Serials Review
Spring, 1990
16 1 13-46 The author was the founder and editor of the San Francisco Oracle. In addition to discussing the history and content of this paper, Cohen also recalls how the paper experimented with color. The Oracle, like other underground paper during the 1960s, made novel use of color. The Oracle avoided color in its advertising but experimented with it to highlight artwork, poems and articles. The editors hoped the paper would be “an agent of mind expansion” (for some readers, the design reminded them of taking drugs), and changed to a bigger printer to expand the application of color, using “the presses like a paint brush” to create “a rainbow newspaper.” underground media offset printing underground press offset printing, and underground press underground press, and offset printing democracy censorship and ratings color underground press, and color color, and underground press San Francisco Oracle, and color color, and San Francisco Oracle San Francisco Oracle underground newspapers Cohen, Allen The San Francisco Oracle: A Brief History 750 Cohen, Liz Making a New Deal: Industrial Workers in Chicago, 1919-1939 Cambridge, Eng. Cambridge University Press
1990
See also: office Cohen devotes some space (pp. 129-43 and 324-46) to discussing radio and labor. He argues that the rise of radio provided a common, unifying experience for ethnic laborers in Chicago and that this “common ground” was an important factor in the development of unionism. By the 1930s, the CIO unions recognized the importance of unity and attempted to use radio to reach workers with a union message. Before the networks, “all radio programming was local, and radio consequently brought familiar distractions into the homes of Chicago’s workers: talk, ethnic nationality hours, labor news, church services, and vaudeville-type musical entertainment by hometown, often ethnic talent. ... Workers discovered that participating in radio, as in mass consumption and the movies, did not require repudiation of established social identities.” The growth of radio required financing, and the introduction of advertising led to the creation of networks that could deliver mass audiences. This mass working-class audience shared a common experience that broke down ethnic, racial and geographic boundaries, Cohen argued. “Workers in the 1930s were more likely to share a cultural world, to see the same movies and newsreels in the same chain theaters, shop for the same items in the same chain stories, and listen to the same radio shows on network radio. ... Radio, probably more than any other medium, contributed to an increasingly universal working-class experience.” As workers listened to the same programs, they shared an experience that transcended job differences on the shop floor and neighborhood differences off the job. The radio, according to Cohen, made workers feel they were part of a national culture, which helped to establish unionism between plants in isolated cities. “In sum, rank-and-file workers were communicating better in their work groups and factories and feeling more akin to each other within Chicago and across the nation.” According to Cohen, the CIO attempted to build on the common experience that radio and other mass culture experiences provided to “cultivate a culture of unity among the rank and file of America’s factories.”
--Phil Glende ethnicity Glende, Phil radio labor radio, and labor labor, and radio radio, and CIO radio, and ethnicity ethnicity, and radio Cohen, Liz Making a New Deal: Industrial Workers in Chicago, 1919-1939 18260 Cohen, Mary Morley Forgotten Audiences in the Passion Pits: Drive-in Theatres and Changing Spectator Practices in Post-War America Film History
1994
6 4 470-86 See filed under Film History articles (1994). The drive-in, a postwar novelty, combined movies with privacy, transforming the “motor car into a private theater box.” Religious leaders and the League of Women Voters condemned drive-ins as “passion pits” during the late 1940s, and studios were initially reluctant to rent first-run films to them. Drive-ins were places where many different types of people went, including those of varied economic backgrounds and people with disabilities. audiences exploitation circuit exploitation circuit motion pictures and popular culture motion pictures theaters theaters, and drive-ins motion pictures, and exploitation circuit exploitation circuit, and drive-ins audiences, and drive-ins audiences, and motion pictures motion pictures, and audiences transportation motion pictures, and automobiles automobiles, and motion pictures audiences automobiles Cohen, Mary Morley Forgotten Audiences in the Passion Pits: Drive-in Theatres and Changing Spectator Practices in Post-War America 23760 Cohen, Richard Pornography: The "Causal Link" [Op-Ed] Washington Post
June 3, 1986
19A This Op-Ed piece questions the assertion made by the majority of Meese Commission members that there was a causal link between pornography and asocial, if not outright criminal, behavior. The Commission's conclusion, "more a wish than a scientific finding, was a foregone conclusion," Cohen writes. sexuality pornography Meese Commission Meese Commission, and critics pornography, and crime pornography, and social science research critics Cohen, Richard Pornography: The "Causal Link" [Op-Ed] 28420 Cohen, Richard Soft-Core Hypocrisy Washington Post
March 22, 1986
A A27 In the Op-Ed piece, Cohen criticized the hypocrisy involved in the effort to have 7-Eleven stores remove Penthouse from its shelves. He notes that the most recent issue of the magazine runs an except from a book by conservative William F. Buckley. values sexuality sexuality law censorship and ratings censorship pornography values Penthouse Meese Commission Meese Commission, and Penthouse pornography censorship, and pornography pornography, and censorship pornography, and boycotts Cohen, Richard Soft-Core Hypocrisy 1020 Cole, Gordon H. The Union's Public Relations J. B. S. Hardman and Maurice F. Neufeld, eds. The House of Labor: Internal Operations of American Unions Englewood Cliffs, NJ; Westport, CT Prentice Hall; Greenwood Press
1951; 1970
205-08 See also: office Cole argues that union leaders must work to generate favorable news coverage on the radio and in print. “If we are going to get our story to our neighbors outside the labor movement, we must aim at the newspapers and the magazines they read and the radio stations they listen to.” Cole, editor of the weekly publication of the International Association of Machinists, noted that labor unions could not afford to compete with management interests through advertising. Union officials must work to “aim our story at the news and feature columns and the special events broadcasts.” Good public relations, he argued, requires labor unions to have good contacts with newspaper and radio reporters. “A union’s chance for favorable publicity can be improved by personal contact between union officers and the editor.” He urged union public relations officials to work to get positive stories about labor into the paper and on the radio. “As many union leaders have learned, it isn’t only what you do that counts, but what people think you’re doing.”
-- Phil Glende advertising, and public relations propaganda advertising Glende, Phil labor public relations labor, and public relations public relations, and labor labor, and radio radio radio, and labor labor, and print media Cole, Gordon H. The Union's Public Relations 33060 Colgan, Christine Warner Bros.' Crusade Against the Third Reich: A Study of Anti-Nazi Activism and Film Production, 1933-1941 Los Angeles, CA University of Southern California
1985
2 volumes This two-volume doctoral thesis offer a detailed study of Warner Bros.'s efforts to promote patriotism and military preparedness during the 1930s up to the attack on Pearl Harbor. The work is based on exhaustive research in the Warner Bros. Historical Archives at the University of Southern California. It provides a gold mine of information on the studio's political activities. nationalism motion pictures motion pictures, and Warner Bros. military communication nationalism and communication motion pictures, and military motion pictures, and nationalism motion pictures, and patriotism Warner Bros., and government Warner Bros. Colgan, Christine Warner Bros.' Crusade Against the Third Reich: A Study of Anti-Nazi Activism and Film Production, 1933-1941 37840 Collier, John Moving Picture Shows New York Times
April 23, 1909
8 In this letter to the editor of the New York Times, the author who is identified as "Secretary Board of Censorship," is responding to an Times article on April 20, 1909, entitled "The Perils of the Moving Picture Shows" which reported on the fire hazards at movie theaters. This writer says that "with the exception of two or three large fireproofed theatres, every moving picture show in the city has it machine inclosed [sic] in a fireproof booth: real fireproof -- Chief Beggin of the Fire Department has seen to this."
The subtitle to this article reads: "Most Machines Are Inclosed [sic] in Fireproof Booths." censorship motion pictures theaters motion pictures, and theaters theaters, and motion pictures theaters, and fire motion pictures, and celluloid celluloid materials materials, and celluloid theaters, as fire hazard censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and New York Collier, John Moving Picture Shows 280 Collini, Stefan Introduction Snow, C. P. The Two Cultures Cambridge, Eng. Cambridge University Press
1993
vii-lxxi Collini devotes a few pages to “the micro-electronic revolution” which has taken place since Snow wrote and lectured. Snow’s lectures originally were published in 1959, and has been reprinted several times. science general studies science and society microelectronics Snow, C. P. Collini, Stefan Introduction 16360 Collins, Francis A. The Camera Man: His Adventures in Many Fields, With Practical Suggestions for the Amateur New York The Century Co.
1916, 1919
This book's sixteen chapters deal with a number of interesting topics. Chapters are devoted to "'War Stuff'," "Aero-Photography," "The News Photographer," "Motion News Pictures," "Commercial Photography," "Government Work," "Scientific Research," "Travel and Adventure," and "The Future."
This work says that by 1919 "Actual moving pictures of events of public interest may be seen in the motion -picture theaters almost as quickly as the news itself can be reported and printed in the newspapers." (82)
It also predicts that "in a few years the transmission of photographs by wireless electricity, even across the Atlantic Ocean, will probably be a commonplace. An actual photograph taken in London or Paris of some important news event will be transmitted by this unseen force and appear in the newspapers in American within a few hours. We will have a wireless telegraph picture service just as to-day the cable service knits the entire world so closely together. In other words, the camera man will in effect enable us to see across the Atlantic, or to the furthermost corners of the world." (226) wireless communication wireless journalism journalism magazines, and photography magazines photography photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines cameras cameras, and availability cameras, portable cameras, and journalism books, periodicals, newspapers newsreels journalism, and newsreels photography, and science modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures electricity electricity, and photography photography, and electricity wireless, and photography photography, and wireless telegraph telegraph, and photography photography, and telegraph war war, and photography photography, and war aeronautics and space communication photography, and airplanes reconnaissance, and photography photography, and reconnaissance reconnaissance Collins, Francis A. The Camera Man: His Adventures in Many Fields, With Practical Suggestions for the Amateur 15320 Collins, Frederick 'Heroes by Any Other Name' New York Times
Oct. 2, 1921
8, 25 This article seems to be a tongue-in-cheek reflection on the nature of modern heroes in 1921. “Think most people are hero worshippers, don’t you? Only nowadays they do not pick their heroes from the ranks of soldiers and Senators. Five years of war gave us no outstanding figure, but one year of peace gave us Babe Ruth? Foch merely saved the world. The Babe has founded a legend. His is the fame of Ulysses and Charlemagne and Chaplin. His deeds will be told from father to son. His place in history is secure. He’s a hero.
“…My sister Minnie, with whom I live in New Rochelle, doesn’t agree with me. She says John Barrymore is the greatest American. Minnie is one of those people there seems to be thousands of them who are quite without shame in their attitude toward the people on the bright side of the footlights….” 8/25?
“…Thus is hero worship spread from Broadway to Main Street.
“But it wasn’t until they found a way of putting up heroes in cans and shipping them all over the world that the truly universal character of this emotion was thoroughly demonstrated….”
“… Several fat men with bald spots may think they had something to do with the popular success of the motion picture, but it was little Mary [Pickford?] the first of the celluloid heroines projecting her personality from the silver screen to the public heart that first institutionalized the movies by giving the world a new thing to worship. She and her contemporaries have made a permanent place for the screen by bringing hero worship within the reach of all. They may not have cornered heroism, but they certainly have trade-marked it. The movie has revived the Heroic Age and made it pay!”
This is list as starting on page 47 (APS Online) although the copy indicates pages 8 and 25 in the original paper/ fame celebrity actors acting photography false leaders false leaders, and photography photography, and false leaders photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars motion pictures, and false leaders false leaders, and motion pictures heroes motion pictures, and heroes heroes, and motion pictures motion pictures, and sports heroes, and sports Collins, Frederick 'Heroes by Any Other Name' 25000 Collins, Glenn Guidance or Censorship? New Debate on Rating Films New York Times
April 9, 1990
C 11C Film makers were unhappy in 1990 that no rating existed for serious adult films that were not pornographic. The uncopyrighted X, originally designed for such adult pictures (e.g., Midnight Cowboy and Last Tango in Paris), had become synonymous with the hard-core industry. To be X-rated, or unclassified, had several drawbacks. Many newspapers would not take advertising for such movies. It meant being excluded from desirable theater locations because some theater chains would not play X-rated films, and many malls had real estate contracts that prohibited their showing. Television stations often would not carry such entertainment. All this amounted to economic coercion and it was nothing less than censorship, movie makers complained. This article runs about 2,300 words. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation Classification and Rating Administration (CARA) theaters X-rated films Valenti, Jack theater owners censorship and ratings rating system (U.S.) motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture NC-17 rating system (U. S.), and controversies CARA, and rating controversies Valenti, Jack, and NC-17 Heffner, Richard, and critics Heffner, Richard, and NC-17 Valenti, Jack, and critics X-rating, and disadvantages X-rated films, and disadvantages theater owners, and X-rated films Heffner, Richard, and X-rated films Heffner, Richard, and adult films critics Heffner, Richard Collins, Glenn Guidance or Censorship? New Debate on Rating Films 25090 Collins, Glenn Judge to Rule in July on X Rating for "Tie Me Up!" New York Times
June 22, 1990
C 4C This article deals with the suit challenging the X-rating given to the movie Tie Me Up! Tie Me Down! (1990). Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) religion values morality freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner morality, and motion pictures motion pictures, and morality CARA, and William Kunstler Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating Tie Me Up! Tie Me Down! rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Ramos, Charles E. Heffner, Richard Collins, Glenn Judge to Rule in July on X Rating for "Tie Me Up!" 25220 Collins, Glenn Judge Upholds X Rating for Almodovar Film New York Times
July 20, 1990
C 12C This article deals with the suit challenging the X-rating given to the movie Tie Me Up! Tie Me Down! (1990). The Motion Picture Association of America found Judge Charles E. Ramos’s ruling troubling. Although he upheld the X rating and agreed that Miramax had brought the suit, in part, to gain publicity, he questioned the system’s integrity. The ratings amounted to “censorship from within the industry” and they failed to shield children from inappropriate images. “The industry that profits from scenes of mass murder, dismemberment and the portrayal of war as noble and glamorous apparently has no interest in the opinions of professionals, only the opinions of its consumers,” the judge concluded. He criticized the lack of medical and psychiatric professionals to advise CARA. The MPAA’s more lenient approach toward violence was inexcusable, and he urged the industry either to revise the system or to abandon it. Ramos did not rule out future legal challenges. “My hands were tied,” he remarked after releasing the opinion, “but I left open the door ... for a case to be made of discrimination against foreign film makers, or against certain types of film makers.” Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) freedom censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Almodovar, Pedro Tie Me Up! Tie Me Down! Kunstler, William Miramax Films Ramos, Charles E. critics values children children, and motion pictures children, and violent movies Heffner, Richard children and violence children, and media Collins, Glenn Judge Upholds X Rating for Almodovar Film 290 Comer, Edward A. The Global Political Economy of Communication: Hegemony, Telecommunications and the Information Economy New York St. Martin’s Press
1994
This volume is a collection of essays by political scientists and economists about the deployment of new communication technologies and international political economy (IPE). Contributors see recent developments as but “the latest manifestation of a much older pattern. For a century and a half -- at least since the perfection of the electrical telegraph -- technology has promised the abolition of distance and the globalisation of everyday life. Twice before -- in 1865 with the creation of the International Telegraph Union and in 1906 with the creation of the Radiotelegraphy Union -- international agreement to encourage and then to regulate new international communication technologies have marked the beginning of generation-long conflicts over the boundaries of new, larger (but certainly less-than-global) economic orders....
“Perhaps some future historian will look back on the creation of the International Telecommunication Satellite Organisation (Intelsat) in the mid-1960s not only as the beginning of a third generation-long conflict over the shape of the global economic order, but as the vanguard of the globalised, co-operative world order that actually may take shape in the 1990s. But, right now at least, the communication revolution of which Intelsat was part looks more like a harbinger of world disorder and a real contributor to today’s global uncertainties.” (from Craig N. Murphy’s Foreword)
Essays include: Comer’s “Introduction: The Global Political Economy of Communication and IPE”; Ian C. Parker, “Myth, Telecommunication and the Emerging Global Informational Order: The Political Economy of Transitions”; Martin Hewson, “Surveillance and the Global Political Economy”; Adam Jones, “Wired World: Communications Technology, Governance and the Democratic Uprising”; and James D. Halloran, “Developments in Communication and Democracy: The Contribution of Research.” nationalism space (spatial) and communication aeronautics and space communication censorship and ratings regulation community democracy law law non-USA surveillance geography radio general studies political economy space (spatial) telegraph International Telegraph Union Radiotelegraphy Union International Telecommunication Satellite OrganizationIntelsat global communication myth democracy and media nationalism and communication telecommunications surveillance bugging privacy reconnaissance aeronautics and space (spatial) communication radio satellites Intelsat regulation, and global communication global communication, and regulation law, and global communication regulation Comer, Edward A. The Global Political Economy of Communication: Hegemony, Telecommunications and the Information Economy 12910 Commager, Henry Steele The American Mind: An Interpretation of American Thought and Character since the 1880s New Haven Yale University Press
1950
This well-known intellectual history of American thought is extraordinarily well -written. Commager was not writing a history of technology per se, but he does consider the major changes in the currents of American thought. He saw the 1890s, for example, as a watershed. Such developments were made possible by the great technological changes brought by the Industrial Revolution which made possible the expansion of newspapers and magazines. This work provides context to the changing technological landscape in the United States during the late nineteenth and first half of the twentieth century. cultural change cyberspace culture cultural change, late 19th cultural change, early 20th Commager, Henry Steele The American Mind: An Interpretation of American Thought and Character since the 1880s 11540 Commission on Freedom of the Press A Free and Responsible Press: A General Report on Mass Communication Newspapers, Radio, Motion Pictures, Magazines, and Books Chicago University of Chicago Press
1947
This study, chaired by Robert Hutchins of the University of Chicago, originated in 1942 when Henry R. Luce suggested in inquiry into the future of freedom of the press. The Commission, which included Zechariah Chafee, Jr. (Vice-Chairman), Harold Lasswell, Charles E. Merriam, Arthur M. Schlesinger, Sr., and others, made many recommendations for extending freedom not only to the press, but to such media as radio and motion pictures (which was included in the term “press”).
Chapter 3, “The Communications Revolution,” (30-51) gives a cogent summary of changes that had taken place during the past generation, and more recently during World War II. While the Commission’s generation still lived in a world of predominantly analog media, it had seen mass communication change dramatically. It had lived through “the development of moving -- then moving and talking -- pictures, of wireless transmission used for telegraph, telephone, and voice broadcasting; of airplane transport; of offset and color printing.”
Such changes gave citizens unprecedented amounts of information. The war had been a catalyst for developing novel methods of transmitting news. Using the wireless, an originating station was no longer limited to point-to-point system but could transmit to a wide area simultaneously. Such multiple-address press service had made news transmission four to ten times less expensive than previous methods, and promised to give even the most isolated editors an abundance of information. Some speculated that a practical, low-cost “facsimile newspaper” was just around the corner. “Such a newspaper would go to press at the local radio station at 500 a.m., say, would be broadcast from FM transmitters, and would drop, automatically folded, from the home radio receiver ready for the family breakfast table.” In addition, books were more available than ever to the average person. New techniques of printing and book manufacturing had also lowered to cost of great literature to a quarter or less.
The new technology often transcended national boundaries and promised a truly global communications network. Air mail made it possible to send magazines and films anywhere in the world within two to three days. Advances in long-distance wireless transmissions during the war had achieved “speeds up to eight hundred worlds a minute (as compared with average cable speeds of forty to sixty words a minute).... Four color facsimile, by which text or photographs or both are transmitted by wireless, has reached the point where whole pages of books and periodicals with their illustrations are now being instantaneously sent in any language halfway round the world.” The development of short-wave radio held forth the possibility of a “world-wide voice broadcasting network.” The Hutchins Commission predicted in 1947 that in the not-too-distant future television would show events to “enormous household audiences all over the world.” post office nationalism print communication revolution news and journalism books, periodicals, newspapers journalism community democracy freedom news and journalism war non-USA radio press news news motion pictures general studies newspapers magazines radio communication revolution World War II wireless communication aeronautics telegraph telephones motion pictures news, and multiple-address press service facsimile news transmission printing books global communication radio, and FM Hutchins Commission radio, and shortwave television freedom of the press freedom of expression First Amendment radio, and First Amendment motion pictures, and First Amendment press, and First Amendment duplicating technologies books television Chafee, Zechariah, Jr. Lasswell, Harold Merriam, Charles Schlesinger, Arthur, Sr. World War II, and wireless World War II, and new media color color, and printing color, and four color facsimile printing, and color printing, offset democracy and media books, paperback nationalism and communication postal service postal service, and airmail airmail news, and wireless wireless communication, and news aeronautics and space communication law military communication news Commission on Freedom of the Press A Free and Responsible Press: A General Report on Mass Communication Newspapers, Radio, Motion Pictures, Magazines, and Books 22270 Commission on Obscenity and Pornography The Effects of Explicit Sexual Materials Report of The Commission on Obscenity and Pornography Washington, D.C. U. S. Government Printing Office
1970
23-27 Report of The Commission on Obscenity and Pornography See also: media See also: violence See also: sexuality This essay concerns research on the effects of watching pornography and concludes that there are few harmful effects. It is part of a much larger study by the President's Commission on Obscenity and Pornography.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. archives sexuality motion pictures mass media pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography Commission on Obscenity and Pornography The Effects of Explicit Sexual Materials 19250 Commission on Obscenity and Pornography The Report of the Commission on Obscenity and Pornography Washington, D. C. U. S. Government Printing Office
Sept., 1970
See also: violence See also: sexuality This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. eroticism Commission on Obscenity and Pornography (1970) social science research values sexuality values media effects law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity media effects, and pornography pornography, and media effects eroticism, and media effects media effects, and eroticism pornography, and supporters Commission on Obscenity and Pornography The Report of the Commission on Obscenity and Pornography 19260 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume I: Preliminary Studies Washington, D. C. U. S. Government Printing Office
[1971]
1 This is the first volume in the Report by the President's Commission on Obscenity and Pornography.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity media effects Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume I: Preliminary Studies 19270 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume II: Legal Analysis Washington, D. C. U. S. Government Printing Office
1971
2 This is the second volume in the Report by the President's Commission on Obscenity and Pornography, and it focuses on legal issues involving pornography.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity obscenity, and law pornography, and law law, and obscenity law, and pornography media effects Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume II: Legal Analysis 19280 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume III: The Marketplace: The Industry Washington, D. C. U. S. Government Printing Office
1971
3 This is the third volume in the Report by the President's Commission on Obscenity and Pornography, and it focuses on the market for pornography that had come into existence by the late 1960s.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity media effects Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume III: The Marketplace: The Industry 19330 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume IV: The Marketplace: Empirical Studies Washington, D. C. U. S. Government Printing Office
1970
4 See also: violence See also: sexuality This is the fourth volume in the Report by the President's Commission on Obscenity and Pornography and focuses on empirical research that had been done about the market for pornography.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values media effects values community law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity pornography, and antisocial behavior media effects, and pornography pornography, and effects community standards, and pornography pornography, and community standards pornography, and marketplace Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume IV: The Marketplace: Empirical Studies 19320 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume IX: The Consumer and the Community Washington, D. C. U. S. Government Printing Office
[1971]
9 This is the ninth volume in the Report by the President's Commission on Obscenity and Pornography and focuses on who were the consumers of pornography and pornography's place in the community.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values media effects values community law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity pornography, and antisocial behavior media effects, and pornography pornography, and effects community standards, and pornography pornography, and community standards community, and pornography Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume IX: The Consumer and the Community 19340 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume V: Societal Control Mechanisms Washington, D. C. U. S. Government Printing Office
[1971]
See also: violence See also: sexuality This is the fifth volume in the Report by the President's Commission on Obscenity and Pornography and focuses on society's mechanism for controlling erotica.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research social control values sexuality values media effects values community law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity pornography, and antisocial behavior media effects, and pornography pornography, and effects community standards, and pornography pornography, and community standards pornography, and social control social control, and pornography law, and pornography pornography, and law Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume V: Societal Control Mechanisms 19290 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume VI: National Survey Washington, D. C. U. S. Government Printing Office
[1971]
6 This National Survey on pornography is the sixth volume in the Report by the President's Commission on Obscenity and Pornography.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity media effects Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume VI: National Survey 19300 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume VII: Erotica and Antisocial Behavior Washington, D. C. U. S. Government Printing Office
[1971]
7 See also: violence See also: sexuality This is the seventh volume in the Report by the President's Commission on Obscenity and Pornography and focuses on the relationship between erotica and anti-social behavior.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values media effects law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity pornography, and antisocial behavior media effects, and pornography pornography, and effects Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume VII: Erotica and Antisocial Behavior 19310 Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume VIII: Erotica and Social Behavior Washington, D. C. U. S. Government Printing Office
[1971]
8 See also: violence See also: sexuality This is the eighth volume in the Report by the President's Commission on Obscenity and Pornography and focuses what influence erotica might have on social behavior.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values media effects law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity pornography, and behavior media effects, and pornography pornography, and effects Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume VIII: Erotica and Social Behavior 21220 Commission on Obscenity and Pornography The Volume of Traffic and Patterns of Distribution of Sexually Oriented Materials Report of the Commission on Obscenity and Pornography Washington, D. C. U. S. Government Printing Office
1970
7-21 See also: violence See also: sexuality This essays discusses distribution and volume of sexually oriented materials through the 1960s.
This multi-volume Report, begun in 1967 under the Lyndon Johnson administration, found that there were few or no harmful effects from pornography and recommended removing restrictions for adult consumers. Report, published in 1970, issued several significant, if controversial, findings. It concluded that long-term exposure (15 days or more) to erotic materials usually resulted in satiation characterized by a marked decline in sexual arousal and interest in such stimuli. One long-term result of loosening legal controls, therefore, would be to reduce interest in pornography. The 1970 Report said that exposure to pornography seemed to have little or any effect on established attitudes toward sexual morality or sexuality, and in young people it “had no impact upon moral character over and above that of a generally deviant background.” It concluded that being exposed to explicit sexual material played no “significant role” in causing “delinquent or criminal behavior among youth or adults.” The Report was attacked by the Richard Nixon administration and by conservatives. The Meese Commission, which was established during the second Ronald Reagan administration, argued that the 1970 Report had studied pornography before it had been spread by cable and satellite television, and by video cassette recorders and dial-a-porn telephone services. The Meese Commission said that since 1970, pornography had become much more violent and pervasive. Commission on Obscenity and Pornography (1970) social science research values sexuality values media effects values community law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and volume of censorship, and foreign obscenity pornography, and 1960s media effects, and pornography pornography, and effects community standards, and pornography pornography, and community standards Commission on Obscenity and Pornography The Volume of Traffic and Patterns of Distribution of Sexually Oriented Materials 35120 Committee for International Economic Growth Foreign Aspects of U. S. National Security: Conference Report and Proceedings Washington, D. C. Committee for International Economic Growth
1958
In early 1958, President Eisenhower asked Eric Johnston to call a bipartisan conference of opinion leaders in an effort to convince Americans to support greater foreign aid to other nations. The goal was "to inform a broad group of citizen leaders about Mutual Security, with the hope that they in turn would carry the facts to ever-widening groups of citizens." (3) Among those who attended were Eisenhower, Richard Nixon, Harry Truman, Adlai Stevenson, Lyndon Johnson, and John Foster Dulles. James M. Rosenau in National Leadership and Foreign Policy devotes Chapter 2 (42-90) to this conference and Johnston's role in organizing it. Eric Johnston said in his remarks that the conference was "the beginning, only a beginning. It is a moment in which we might plant seeds. The seeds, if we wish to plant them, will need our devoted care and cultivation in the days, the months, and the years ahead." (21) Motion Picture Association of America (MPAA) nationalism Eisenhower administration community addresses motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism democracy democracy, and capitalism capitalism, and democracy nationalism and communication motion pictures and nationalism presidents and new media Eisenhower, Dwight D. motion pictures, and Dwight Eisenhower Eisenhower, Dwight D., and motion pictures capitalism Cold War freedom MPAA war advertising and public relations values Committee for International Economic Growth Foreign Aspects of U. S. National Security: Conference Report and Proceedings 1330 Committee on Pornography and Prostitution, Department of Justice of Canada Pornography and Prostitution in Canada Ottawa, Ontario Communication and Public Affairs, Department of Justice of Canada
1985
Due to the increasing concern with pornography at the time, 1983, a Special Committee on Pornography and Prostitution was formed by the Department of Justice of Canada. This committee was similar to the committees formed in the United States (1970 & 1986) in that experts were called on to speak at hearings on the uses and impacts of pornography and prostitution. Of particular concern to this committee was the issue of access to pornographic materials and what the ultimate effects of those materials are. These areas were accentuated in the committees concern with the beginning of the proliferation of video-taped pornography into the general public. The committee puts an emphasis on classification of videos so that users, or potential users, are aware of the content of such videos. Additionally, the committee is against prohibition or censorship of pornographic materials, however, they stress the need to keep these materials out of the hands of minors. This report gives an indication of how the change to video as a viable form of pornographic media acted as a catalyst for much of the discussion and research on pornography.
--Michael Boyle classification video cassette recorders (VCRs) self-regulation CARA magnetic recording censorship and ratings sexuality magnetic tape law law censorship and rating system (U. S.) rating system (U. S.) censorship classification non-USA Boyle, Michael pornography Canada Canada, and pornography Canada, and VCRs Canada, and video rating system (U. S.) VCRs rating system (U. S.), and videos cassettes pornography, and prostitution regulation, and video cassettes regulation Committee on Pornography and Prostitution, Department of Justice of Canada Pornography and Prostitution in Canada 11200 Comolli, Jean-Louis Technique and Ideology: Camera, Perspective, Depth of Field Nichols, Bill ed. Movies and Methods: Volume II Berkeley University of California Press
1985
2 40-57 Comolli, a Marxist film theorist and historian, focuses on how film style and technology create and sustain relationships between individual works and society that reflect capitalist ideology. Comolli draws on Louis Althusser's ideas about the nature of ideology. In this essay, Comolli considers how one particular aspect of style, depth of field (the extent to which a filmed image conveys a sense of three-dimensional depth, often by keeping several planes within the image in focus at the same time) has developed throughout history to articulate and reinforce a capitalist worldview. After briefly discussing how film scholar have defined ideology in the cinema, Comolli moves to a historical account of the invention of cinema. He argues that the birth of cinema can be linked to economics more than pure scientific inquiry. Hence, film ideology is largely a matter of the capitalist principles in accordance with which the medium was invented.
--Matt Lavine Marx, Karl Marxism ideology communism capitalism motion pictures motion pictures Lavine, Matt motion pictures, and ideology motion pictures, and capitalism ideology, and motion pictures capitalism, and motion pictures Althusser, Louis motion pictures, and origins capitalism communism, and motion pictures marxism, and motion pictures motion pictures, and marxism motion pictures, and communism Comolli, Jean-Louis Technique and Ideology: Camera, Perspective, Depth of Field 4750 Compaine, Benjamin The New Literacy: Or How I Stopped Worrying and Learned to Love Pac-Man Benjamin M. Compaine, ed. Understanding New Media: Trends and Issues in Electronic Distribution of Information Cambridge, MA Ballinger Publishing Company
1984
329-42 This piece originally appeared in Daedalus. Compaine argues that it is likely that "society is on the verge of a new step in the evolution of its concept of literacy. Early indicators of the change are the 7 million people [as of 1984] in the work force who use video display screens attached to computers for reading and interacting with information; the rapid proliferation and use of video games at home and in arcades, and the growing application of personal computers at home and in the schools; and the trend of higher costs for paper and physical delivery contrasted to growing availability and lower costs for electronic delivery of information. Thus the skills required to store, retrieve, and manipulate information using a computer are becoming increasingly requisite proficiencies to be added to the existing bundle of skills we call literacy." entertainment computers entertainment, home seeing at a distance preservation labor postmodernism modernism new way of seeing communication revolution home entertainment history, and new media community democracy history home, and new media home office computers, personal computers paper office, and information technology home, and information technology new way of seeing, and computers literacy information technology Information Age history computers and the Internet new way of seeing, and computers computers, personal personal computers video games communication revolution literacy, new literacy, and computers information technology, and home information technology, and office paper, and higher cost of information processing democracy and media history, break with literacy computers, and literacy home, and video games office, and new media paper home, and new media materials Compaine, Benjamin The New Literacy: Or How I Stopped Worrying and Learned to Love Pac-Man 4760 Compaine, Benjamin M. Shifting Boundaries in the Information Marketplace Benjamin M. Compaine, ed. Understanding New Media: Trends and Issues in Electronic Distribution of Information Cambridge, MA Ballinger Publishing Company
1984
This piece originally appeared in An Information Agenda for the 1980s (pp. 67-89), published by the American Library Association in 1981. According to Compaine, "It describes the need for each of the traditional pieces of this business to refine its role in view of fundamental policy questions raised, including: Who will pay? Who will have access? Who will profit? How will conflicts be resolved?" computers archives community democracy libraries information technology libraries, and information storage information storage information storage Information Age computers and the Internet information storage American Library Association libraries information processing information technology, and business information technology, and knowledge democracy and media Compaine, Benjamin M. Shifting Boundaries in the Information Marketplace 4730 Compaine, Benjamin M. ed. Understanding New Media: Trends and Issues in Electronic Distribution of Information Cambridge, MA Ballinger Publishing Company
1984
; media effects See also: media convergence See also: mass media This work contains research reports and papers that Harvard University's Program on Information Resources Policy previously published. The book seeks to help policymakers and strategic planners identify issues and problems that are likely to be most significant during the 1980s. The work is divided into three parts. Part I provides an overview of the information industry. Part II looks at trends and factors influencing information distribution. Part III examines strategic implications of changes that have taken place in media formats and processes. Articles in this part include William H. Read, "The First Amendment Meets the Second Revolution"; Benjamin M. Compaine, "Videotex and the Newspaper Industry: Threat of Opportunity?"; and Benjamin F. Compaine, "The New Literacy: Or How I Stopped Worrying and Learned to Love Pac-Man." entertainment computers video cassette recorders (VCRs) corporations Federal Communications Commission (FCC) entertainment, home magnetic recording audio tape video cassettes steam power censorship and ratings print nonprint media communication revolution journalism home entertainment videotape magnetic tape regulation community democracy communication revolution, and second industrial revolution freedom law news and journalism non-USA home, and new media home xerography VCRs sound recording nonprint culture print culture presses duplicating technologies newspapers news media information technology Information Age computers and the Internet literacy print media v. electronic media books, periodicals, newspapers newspapers, and electronic media information processing penny press presses, rotary presses, steam steam press telephones telephones, and computers First Amendment freedom of expression second industrial revolution communication revolution critics information technology, and business cable, television television, and cable sound recording, and audio cassettes audio cassettes photocopying audio cassettes, and Iran photocopying , and Iran democracy and media media convergence regulation regulation, and new media regulation, and cable cable, and regulation AT & T broadcasting Communication Act of 1934 FCC radio satellites telecommunications television videotex Xerox Corporation video cassettes Program on Information Resources Policy, Harvard audio cassettes cable sound recording newspapers, and videotex video games home, and video games aeronautics and space communication materials Compaine, Benjamin M. ed. Understanding New Media: Trends and Issues in Electronic Distribution of Information 12960 Comstock, Anthony Traps for the Young New York Funk & Wagnalls
1884
; media effects See also: media convergence See also: mass media This book was written by a man whose name became synonmous with censorship during the late nineteenth and early twentieth centuries. Already by 1884, there was much in modern communication that Comstock feared would damage children and weaken the morality of adolescents. The work has ten chapters and Comstock devoted chapters to "Household Traps ...-- Newspapers" (13-19), "Half-Dime Novels and Story Papers" (20-42), and "Advertisement Traps" (43-55). The newspapers, of course, were filled with stories of crime. The cheap novels traded in romance and violence. As for the ads: "Millions of copies of daily and weekly papers contain tens of thousands of advertisements. Along this great highway of communication the vendors of obscene and infidel publications, the lottery and policy gamblers, the quacks, the frauds, the poolsellers, the liquor-saloon keepers, the managers of low theatres display their fingerboards. Here are thousands upon thousands of traps set to ruin youth and rob the unwary." (43) He goes on to talk about "vile books, papers, novels; and the headquarters of men and women engaging in most shameful practices -- all these and more are posted here with flaming colors." (43) cultural change photography advertising, and public relations values propaganda public relations new media religion values morality media culture censorship and ratings children law censorship and ratings censorship Victorianism cultural change, late 19th censorship, and newspapers newspapers, and censorship advertising advertising, and censorship censorship, and advertising photography and visual communication photography, and censorship censorship, and photography morality, and cultural new media, and morality morality, and new media Comstock, Anthony morality, and children children, and morality censorship, and children children, and censorship children, and media media, and children newspapers news news and journalism color color, and immorality color, and Anthony Comstock Comstock, Anthony Traps for the Young 40200 Comstock, Daniel F.// Leonard T. Troland The Nature of Matter and Electricity: An Outline of Modern Views New York D. Van Nostrand Company
1917
The 203-;age book discusses the state of knowledge about electricity. Readers who are interested in Leonard Troland and his work with Technicolor will find a brief discussion of "Color and the Absorption and Reflection of Light" (157-59). The authors write that "Physics as such offers no explanation of the fact that light of one wave-length gives us a sensation quality almost wholly different from that produced by light from another wave-length. Neither does it account for the fact that a mixture of lights of many different wave-lengths gives white. These are problems in physiology although their solution is, of course, closely connected with the physics of light." (158) Technicolor, and Leonard Troland Technicolor censorship color media effects motion pictures motion pictures, and color motion pictures, and media effects motion pictures, and talking movies sound recording motion pictures, and 3-D 3-D, and motion pictures color, and motion pictures color, and media effects media effects, and color media effects, and talking movies censorship and ratings censorship, and color movies sexuality sexuality, and color movies color, and sexuality sexuality, and color color, and Technicolor Technicolor, and color Technicolor, and two-color process Technicolor, and three-color process Technicolor, and L. T. Troland Troland, Leonard, and Technicolor audiences audiences, and color movies color, and audiences motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures electricity color, and electricity electricity, and color electricity, and Leonard Troland Troland, Leonard, and electricity color, and sensation Troland, Leonard 3-D Comstock, Daniel F.// Leonard T. Troland The Nature of Matter and Electricity: An Outline of Modern Views 20040 Comstock, George A. Eli A. Rubinstein and John P. Murray eds. Television and Social Behavior: Reports and Papers. Volume V: Television's Effects: Further Explorations: A Technical Report to the Surgeon General's Scientific Advisory Committee on Television and Social Behavior Rockville, MD National Institute of Mental Health
[1972]
Television and Social Behavior: Reports and Papers 5 See also: violence See also: sexuality The U. S. Congress funded the Surgeon General’s Scientific Advisory Committee on Television and Social Behavior, and, in 1972, the investment yielded a five-volume examination of TV’s effects on social learning, adolescent aggressiveness, and daily life. Several of the studies in this report indicated that what children learned from television could be good or bad, and that the effects of this learning could be strongly influenced by parents. The studies showed that even though parents were uneasy about what their children learned from TV, they often failed to provide supervision for even the youngest child. In this, the fifth volume, it is reported that the thrust of research conducted in experimental settings confirmed that “more overt aggressive behavior follows exposure to violent content than to nonviolent content or no content.” television, and media effects Surgeon General social science research media effects media violence media effects censorship and ratings children television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures Surgeon General's Report (1972) television, and Surgeon General's Report (1972) violence children, and TV violence media effects, and television Comstock, George A. Eli A. Rubinstein and John P. Murray eds. Television and Social Behavior: Reports and Papers. Volume V: Television's Effects: Further Explorations: A Technical Report to the Surgeon General's Scientific Advisory Committee on Television and Social Behavior 21950 Comstock, George A. Eli A. Rubinstein John P. Murray eds. Television and Social Behavior: Reports and Papers. Volume IV: Television in Day-to-Day Life: Patterns of Use: A Technical Report to the Surgeon General's Scientific Advisory Committee on Television and Social Behavior Rockville, MD National Institute of Mental Health
[1972?]
Television and Social Behavior: Reports and Papers 4 See also: violence See also: sexuality The U. S. Congress funded the Surgeon General’s Scientific Advisory Committee on Television and Social Behavior, and, in 1972, the investment yielded a five-volume examination of TV’s effects on social learning, adolescent aggressiveness, and daily life. Several of the studies in this report indicated that what children learned from television could be good or bad, and that the effects of this learning could be strongly influenced by parents. The studies showed that even though parents were uneasy about what their children learned from TV, they often failed to provide supervision for even the youngest child. This is the fourth volume, and it examines how people use television and the role of television in daily life. television, and media effects Surgeon General social science research media effects media violence media effects censorship and ratings children television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures Surgeon General's Report (1972) television, and Surgeon General's Report (1972) violence children, and TV violence media effects, and television Comstock, George A. Eli A. Rubinstein John P. Murray eds. Television and Social Behavior: Reports and Papers. Volume IV: Television in Day-to-Day Life: Patterns of Use: A Technical Report to the Surgeon General's Scientific Advisory Committee on Television and Social Behavior 15620 Conant, Michael Antitrust in the Motion Picture Industry: Economic and Legal Analysis Berkeley University of California Press
1960
This book provides an analysis of the legal and economic dimensions of antitrust problems in the motion picture industry. motion pictures motion pictures and popular culture motion pictures motion pictures, and antitrust motion pictures, and business motion pictures, and studio system Conant, Michael Antitrust in the Motion Picture Industry: Economic and Legal Analysis 20480 Conant, Michael The Paramount Decrees Reconsidered Tino Balio, ed. The American Film Industry (Revised Edition) Madison University of Wisconsin Press
1976, 1985
537-73 In this chapter, Conant re-examines the 1948 Paramount case in which the U. S. Supreme Court required studios to divest themselves of their large theater chains. This case helped to weakend the industry's system of self-regulation as exercised through the Production Code Administration. United States v. Paramount Pictures (1948) Paramount Pictures motion pictures and popular culture motion pictures motion pictures, and antitrust motion pictures, and business motion pictures, and studio system Paramount Pictures case (1948) motion pictures Conant, Michael The Paramount Decrees Reconsidered 26850 Conconi, Chuck Personalities Washington Post
March 30, 1990
B 3 This articles discusses Jack Valenti and his relationships with Lyndon B. Johnson and Ronald Reagan. Valenti was highly critical of Robert Caro's biography of Johnson. Motion Picture Association of America (MPAA) MPAA politics motion pictures Valenti, Jack Valenti, Jack, and politics Valenti, Jack, and Ronald Reagan Valenti, Jack, and Lyndon Johnson motion pictures, and politics politics, and Jack Valenti Caro, Robert, and Jack Valenti Valenti, Jack, and history Valenti, Jack, and Robert Caro Conconi, Chuck Personalities 33280 Congressional Research Service, Library of Congress The Impact of Information Technology on Science: Science Policy Study Background Report No. 5 Committee on Science and Technology, U. S. House of Representatives, Ninety-Ninth Congress, Second Session (Serial T) Sept. 1986 Washington, D. C.: U. S. Government Printing Office, 1986 This Report was prepared by Jane Bortnick and Nancy R. Miller of the Congressioinal Research Service, Library of Congress, and transmitted to the Task Force on Science Policy in the Committee on Science and Technology in the U. S. House of Representatives (99th Congress). It attempts assess the impact, "in some cases revolutionary impact on science," by information technologies during the previous quarter century. The Report discusses Federal support for university research, the recent relationship between universities and industry, computers and telecommunication networks, electronic publishing, and databases. The work also mention recent money allocated for the Reagan's administration's strategic computing initiative (e.g., p. 20). R & D National Aeronautics and Space Administration (NASA) computers research and development nationalism information technology Defense Advanced Research Projects Agency (DARPA) government government reports nationalism and communication research and development telecommunications computers computers and the Internet information storage supercomputers information technology, and science strategic computing initiative Reagan administration, and technology NASA National Security Agency DARPA DARPA, and strategic computing initiative artificial intelligence artificial intelligence and biotechnology Reagan administration, and strategic computing initiative networks, and computers publishing, electronic computers, and electronic computing military communication national security networks publishing Reagan administration Congressional Research Service, Library of Congress The Impact of Information Technology on Science: Science Policy Study Background Report No. 5 42230 Connolly, Charles B. The Ethics of Modern Journalism Catholic World, A Monthly Magazine of General Literature and Science
July 1, 1902
75 448 453-62 This article discusses the impact of "mechanical advancements" on the modern newspaper, and provides of critique of yellow journalism. "Modern journalism, in its yellow form, represents a decline either in the moral and tone of the reading public, or a degeneration in the editorial profession; or, perhaps, both." (453)
The author provides a definition of "yellow journalism": "A daily publication wherein news is featured, not 453/454 according to its objective truth or public interest but with a view of bringing out some novel, unique, or hitherto underdeveloped phase; which aims rather to present an attractive appearance than to give the happenings of the day; which appeals to the eye and prejudices of the reader than to his intellect; which introduces, colors, and suppresses facts in conformity with its own editorial policy, the orders of its business office, and the dictates of its proprietor; and which never misses an opportunity to chronicle its own achievements for the benefit of humanity, and to boast of its extensive circulation as compared with its competitors." (453-54) Another "essential for every would-be yellow journalist" was an "irrepressible desire to search for uninteresting and unimportant details...." (461) Connolly quotes a "well-known [but unnamed] journalist" who characterized these papers as "picture books for children." (quoted, 462)
Connolly argued that yellow journalism had been made possible "by the progress of photography, the invention of the linotype, the introduction of stereotyping, color press-work, zinc etching, the absolute freedom from restraint conceded to press utterances here, and the well-known facility with which the American people take to anything new." (454) The origins of yellow journalism traced back to "the circus poster and patent medicine 'ad' of the last generation," he writes. (455) How can the modern newspaper which is produced so hurriedly "be a power for good?" (459)
The author ends by speculating that yellow journalism will be replaced by more responsible news reporting and that the "American reporter will become a professional man, a scholar and a gentleman, and not a professional meddler, amateur detective, and inventor of plausible impossibilities all in one." (462) news and journalism photography journalism, yellow (defined) yellow journalism photography, and yellow journalism journalism, and modernity journalism, new, and yellow journalism critics critics, and yellow journalism World journalism journalism, and ethics journalism, yellow Connolly, Charles B. The Ethics of Modern Journalism 23900 Connors, Joanna Real Erotica More than Skin Deep; Many Hollywood Movies Fail to Flesh Out Spiritual, Truly Human Side of Sex The Plain Dealer [Cleveland]
Jan. 24, 1993
H 1H This article notes that "after a brief -- but heralded -- pause during the ascendancy of both the Reagan era and AIDS" in the exploitation of explicit sex, the movie "industry went right back to the business of merchandising sex. In 1992, it raced to make up for lost time" with such movies as Basic Instinct, The Lover, Damage, and Body of Evidence. classification self-regulation motion pictures, and sexuality sexuality CARA sexuality sex censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures Hollywood law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture sex, and motion pictures motion pictures, and sex NC-17 Hollywood, and sex sex, and Hollywood rating system (U. S.), and sex adult films motion pictures, and adult films motion pictures, and eroticism Basic Instinct (1992) The Lover (1992) Damage (1992) Body of Evidence (1993) Connors, Joanna Real Erotica More than Skin Deep; Many Hollywood Movies Fail to Flesh Out Spiritual, Truly Human Side of Sex 310 Connors, Michael The Race to the Intelligent State: Charting the Global Information Economy into the 21st Century Oxford, UK Capstone
1997
See also: office One useful feature of this book is an appendix entitled “The Infostructure Index.” It ranks nations’ use of mass communication. Categories include literacy rate, newspapers, radios, TV sets, and telephones per 1,000 people.
This work “describes the evolution of information infrastructures in the past, considering the role of technology and other factors, and predicts the course of events up to the year 2005. Its principal messages are that technology, the major drive of the process, is essentially predictable in that time frame, that the information revolution will have marked negative, as well as positive consequences and that, perhaps contrary to popular perception, it will be the developing world, not the developed nations, which will be its major beneficiaries.” Among these so-called “info-tigers” in the developing world are India and Thailand. This work as a brief, two-page bibliography, and no notes. nationalism References, Statistics, Timelines, Maps statistics office labor communication revolution second industrial revolution microelectronics revolution news journalism news and journalism non-USA office office, and new media office news general studies newspapers telephones global communication infrastructure information age India Thailand communication revolution developing nations Third World nationalism and communication political economy literacy radio television telephones books, periodicals, newspapers Third World developing nations statistical data, and mass media microelectronics Connors, Michael The Race to the Intelligent State: Charting the Global Information Economy into the 21st Century 1890 Conroy, J. C. A History of Railways in Ireland London Longmans, Green, and Co. Ltd.
1928
This book is an extended study of the development of the railway industry in Ireland largely reconstructed from the legislation that shaped its course. This work is based extensively on Parliamentary papers and committee reports starting from the 1840s and extending to the 1920s. Though an older work, this book still holds merit for detail and completeness in considering the business and policy side of the subject. An interesting early chapter considers the relationship between food distribution during the Great Famine and the push for railways.
--Nicholas Wolf non-USA Wolf, Nicholas Ireland transportation Ireland, and railroads railroads railroads, and Ireland Ireland Conroy, J. C. A History of Railways in Ireland 11020 Conway, Paul Preservation in the Digital World [report] Washington, D. C. Commission on Preservation and Access
March 1996
This report notes the central dilemma of modern media and its preservation: "Our capacity to record information has increased exponentially over time while the longevity of the media used to store the information has decreased equivalently." This report sets out a plan for action, speaks to priorities that should be given in preserving digital materials, and notes the differences and similarities between preservation as it is currently practiced and future needs. The report "suggests that many of the basic tenets of preservation management can be applied in a highly technological environment, but that some long-held principles may not longer apply." The report also addresses where it will be difficult to bring change. archives libraries libraries, and information storage information storage libraries electronic preservation digital media electronic media digitization information storage, and digital media books, and digital media libraries, and digital media archives, and new media archives, and digital media archives books, periodicals, newspapers books Conway, Paul Preservation in the Digital World [report] 11010 Conway, Paul and Shari Weaver The Setup Phase of Project Open Book: A Report to the Commission on Preservation and Access On the status of an effort to convert microfilm to digital imagery [report] Washington, D.C. Commission on Preservation and Access
June 1994
"Digital image quality, indexing structures, and production workflow" were the three primary issues examined in this report. "In 1993 Yale set up and evaluated the components of an in-house production conversion facility, converted and indexed 100 volumes in a test run, and prepared for the conversion from preservation microfilm of the next 3,000 volumes of a projected 10,000 volume digital library. The setup phase built upon the first phase of the project -- the organizational phase -- in which Yale conducted a formal bid process and selected Xerox Corporation to serve as the principal partner in Project Open Book." corporations corporations archives digital media xerography microfiche, microfilm, microform libraries libraries, and information storage information storage electronic preservation microfilm digital imagery, and microfilm Project Open Book Xerox Corporation libraries electronic media digitization information storage, and digital media books, and digital media libraries, and new media archives, and new media archives, and digital media libraries, and digital media archives books, periodicals, newspapers books photocopying duplicating technologies Conway, Paul and Shari Weaver The Setup Phase of Project Open Book: A Report to the Commission on Preservation and Access On the status of an effort to convert microfilm to digital imagery [report] 18570 Cook, David A Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 New York Charles Scribner's Sons
2000
In this, the ninth volume in the History of the American Cinema series, David Cook writes about major developments during the 1970s. Chapter 9 is devoted specifically to “Technological Innovation and Aesthetic Response,” and covers cinematography, lens technology and aesthetics, lighting and film stock, camera technology, stabilization systems and camera mounts (e.g., the Steadicam), Video-assist technology, special effects and motion control, Dolby stereo optical sound, sound design and post-production (e.g., attempts at electronic editing), projection technology, and the relationship between technology and narrative form.
This book, for course, deals with other topics including the manufacturing of blockbuster movies, auteur cinema, different film genres, and the rising cost of film making, agents, and movie stars. In addition to Cook, three other authors contribute chapters. Douglas Gomery writes about American movie exhibition during the 1970s (chapter 10). William Rothman deals with documentary films during the decade (chapter 11), and chapter 12 by Robin Blaetz is about avant-garde cinema. It also has an avant-garde cinema filmography.
Appendices cover annual box office receipts, average weekly attendance, inflation figures, ticket prices, number of theaters, marketing data, top rental films, and major academy awards.
--SV

Cook looks at the period of American film making when a European-style cinema of social criticism and emphasis on the creativeness of the auteur gave way to the blockbuster mentality. Between 1967 and 1975, due largely to Vietnam and Watergate, American movie making was far more introspective and socially critical than it ever was before or has been since. This was, of course, supplanted in the mid-1970s by the Lucas/Spielberg genre of expensive blockbusters centering around dazzling special effects. This trend in the movies mirrored the political culture, which was withdrawing altogether from the progressive tradition and embracing an ascendant Reaganism. The blockbuster frame of mind discredited the modest though respectable earnings of early 1970s movies, and meant that the idea content would once again center around a mythos directed at the masses. This lengthy book uses mostly secondary sources.
--Gordon Jackson

In Lost Illusions, David A. Cook shows how the 1970s changed the nature and production of modern American cinema. The greatest and most visible change came in the form of the blockbuster. Up until that time, movie producers believed that Hollywood stars were the engine that drove a movie’s profits; that it was folly to believe that any customer would pay to see a movie more than once; and movie elements such as sound quality and special effects were secondary to a movie’s box office appeal.
“Jaws” and “Star Wars,” changed every concept of what it took to make a movie profitable, much less a ‘blockbuster.’ “The Godfather” was the first movie to use the ‘event’ idea- the notion that a customer wasn’t going to see a movie, they were participating in an important ‘event.’ But “Jaws” took it to a whole new level with its combination of proven plot devices, new camera technologies and a clever marketing strategy meant to maximize interest by reducing it to one image, the familiar shark icon from shirts and posters.
Then George Lucas took it one step farther when he made sound and special effects key aspects of his Star Wars franchise and unleashed a barrage of toys and other products to go with the films. Few films viewed ‘licensing’ as a viable means to money making, but Lucas millions more in licensing the Star Wars brand to products than he did on the movie itself.
But it wasn’t just these two films that characterized the decade’s movies. Several directors released edgy, counter-culture films in a variety of formats. Martin Scorsese gave Americans a hard-edged urban world in films such as “Taxi Driver”; Robert Altman invented overlapping dialogue for his counter-culture films, such as “M*A*S*H”; and William Friedkin showed that horror and vulgarity could equal big money with “The Exorcist.”
The decade introduced many other film styles to American culture. It was the decade that all but invented the horror film with classics like “The Omen” and “Halloween”; established the cult followings for blaxploitation (such as “Shaft”), kung-fu and martial arts (i.e. “Enter the Dragon”); created a new style of film called “Vietnam Westerns” (such as “Little Big Man”); and showed new ways of presenting old styles, such as film noir (i.e. “Chinatown”).
When the directors weren’t making history with their movies, they were doing it with their movie technology. Advances in movie-making technology led to the invention of Dolby sound systems for theater and the Steadicam, which allowed directors and cinematographers to shoot films while standing next to actors or from moving vehicles.
Although the book does an excellent job of outlining the decade in movie making, it serves more as a categorical look at the movies, people and technology that made the decade historic. Rarely, does the book delve into how Watergate and Vietnam influenced the plots and stories of those movies.
-Patrick Wright Motion Picture Association of America (MPAA) home entertainment computers Classification and Rating Administration classification video cassette recorders (VCRs) MPAA underground cinema self-regulation motion pictures, and sexuality sexuality exploitation circuit entertainment, home Classification and Rating Administration (CARA) magnetic recording National Association of Theatre Owners (NATO) women, and new media advertising, and public relations women underground media underground films censorship and ratings rating system (U. S.) advertising propaganda advertising public relations sexuality new media MPAA NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPPDA motion pictures violence media effects media violence satellites horror home entertainment Hollywood magnetic tape exploitation circuit computers and the Internet children censorship and rating system (U. S.) law rating system (U. S.) censorship classification non-USA home home, and new media home motion pictures and popular culture motion pictures motion pictures, and history of motion pictures, and avant-garde underground films, and motion pictures 16mm 16mm, and avant-garde 8mm 8mm, and avant-garde motion pictures, and new technology motion pictures, and marketing advertising, and motion pictures motion pictures, and art cinema motion pictures, and blockbusters motion pictures, and box office cameras cameras, and motion pictures motion pictures, and camera technology motion pictures, and special effects cable TV television television, and cable television, and motion pictures motion pictures, and television motion pictures, and cable TV satellites, and motion pictures motion pictures, and satellites cinematography motion pictures, and cinematography violence motion pictures, and violence violence, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures motion pictures, and Dolby sound sound recording, and Dolby motion pictures, and exploitation exploitation women, and motion pictures motion pictures, and women motion pictures, and feminism foreign motion pictures, and foreign motion pictures, and genre home video new media, and home home entertainment revolution VCRs home, and motion pictures videotape motion pictures, and horror cameras, and zoom lenses MPAA CARA rating system (U. S.), and motion pictures motion pictures, and rating system (U. S.) pornography pornography, and motion pictures motion pictures, and pornography motion pictures, and sex motion pictures, and X-rated motion pictures, and children children, and motion pictures computers and the Internet computers, and motion pictures computers, and special effects computers, and computer graphics computers, and computer animation motion pictures, and computers motion pictures, and computer graphics motion pictures, and computer animation Panaflex, and violence violence, and motion pictures motion pictures, and violence Hollywood, and science fiction Hollywood, and horror horror science fiction Jackson, Gordon advertising cable future and science fiction cameras future Wright, Patrick children, and media computers Panaflex science Cook, David A Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 42390 Cook, E. Wake Anarchism in Art: Chaos in Criticism London Cassell and Company, Limited
1904
This book contains series of article which the author had previously published in Vanity Fair. Ebenezer Wake Cook was a critic of Impressionism, post-Impressionism, and degeneracy art. He drew parallels between what he consider to be degenerate art and degenerate politics which produced anarchy. Cook, who himself was an artist, insisted on "truth to nature." In this book, Cook writes in his opening chapter ("The Situation") that "the goddess of Vulgarity is ousting the modest must of Painting; and some of the narrowest doctrines that ever gained a moment's credence of the unthinking are preached as saving evangels." ([p. 9]) In chapter 4 ("Impressionism"), he begins: "'The Impressionist,' it has been wittily said, 'is a man with an independent income!'" (38)
In chapter 10 ("The Future of Art"), Cook writes: "The democratisation of Art by reproductive processes is the new factor which differentiates the present state of things from anything every known. The plethora of pictures caused by over-production and reproduction, and the consequent jading of the aesthetic faculties of those having most to do with them, created a desire for change which led to blind experimenting. The newly-discovered power of advertising, and the introduction of something closely resembling the claque to support new men or cliques, led to anarchy. The confusion created by the new 'criticism' resulted in a set of circumstances which a quick-witted student planning his career might have thrown into this series of propositions: (69)
"(a) A picture unusually good, or unusually bad, will look 'distinguished.' The attainment of unusual excellence is increasingly difficult, while its antithesis is easy enough. (b) Insanity is allied to genius; in the absence of genius, may not assumed insanity be mistaken for it, at least by the new critics? (c) Notoriety brings the emoluments of fame; it is easier of attainment, and may be mistaken for fame itself. (d) In Realism the criterion of excellence is always at hand, and shortcomings are sure of detection. Then, why not adopt Impressionism with its arbitrary criteria, by which incompetence may pass as genius?" (69)
Cook is also discussed in S. K. Tillyard, The Impact of Modernism: The Visual Arts in Edwardian England (New York: Routledge, 1988), 106-08. journalism celebrity art photography, and art art, and photography values art, and values values, and art art, and decadence sound recording phonograph electricity metaphors color photography, and color color, and photography cameras cameras, and art art, and cameras history and new media art, and history history, and art gramophone advertising art, and advertising advertising, and art modernity history, break with critics news and journalism art, and journalism journalism, and art critics, and modernity modernity, and critics critics, and new media critics, and art advertising and public relations advertising, and art art, and advertising history, and break with fame, and notoriety notoriety, and fame celebrity culture celebrity, and notoriety duplicating technologies duplicating technologies, and art fame history photography Cook, E. Wake Anarchism in Art: Chaos in Criticism 400 Cook, E. Wake Progress or Decadence in Art? Eclectic Magazine of Foreign Literature
Dec. 1904
143 6 701-13 This article attempts to access the impact of mechanical reproduction -- printing, photography, sound recording -- on art. "What might be called the democratization of Art, or art-products, by cheap printing and various reproductive processes is quite revolutionary," Cook writes. (701) The author notes that the "rapid rise of photography has revolutionized the reproductive printing processes," and that the camera has become a "toy; everything is snap-shotted, and photographs are becoming like visible memories, recording the multitudinous impressions of the roving eye." (701) This article discusses color photography and also mechanical sound reproduction such as the hand organ and mechanical piano. The phonograph, it argues "does for the ear what photography does for the eye.... The photograph gives form truly, but translates a colored world into black and white, or a monochrome; there is no such translation in the phonograph, which records time, tune and words of a song -- its form and color." (702) Cook notes that the gramophone puts good music with reach of those who are not wealthy. When we "think of this magic little disc which, operated by Nature's own nerve fluid -- electricity -- can not only speak but sing with full 702/703 orchestral accompaniment, we see what a marvel it is." (702-03) In addition to describing electricity as "Nature's own nerve fluid," there are other descriptions: the phonograph as "mechanical witchery" (703); "the cinematograph, recording and reproducing in lightning flashes moving objects" (703); the cinematograph is a "magic mirror." (703) Understanding the true nature of these modern innovations is liberating: "A flash of insight causes us to break our earthly bonds and burst into a larger life." (703)
Cook discusses the "demand for novelty" and how many of these seemingly miraculous inventions now seems commonplace. "This wearying of the faculty of appreciation and wonder is a prime factor in the decadence of Art...." (701) Cook says that many "writers who deal only with the pictorial and plastic arts have shown singularly little insight into the real nature of these new departures." (711) Cook complains about "the glut of Art, and the wearying of faculty which has caused a cry for change, and a revolt against nearly all forms of accepted excellence. A divine melody and a soul-stirring symphony may sicken us if done to death on street pianos or gramophones, but they do not cease to be beautiful tone-poems because our taste is vitiate by surfeit. Yet this elementary fact is continually overlooked in current criticism, the writers failing to realize the personal equation." (711)
Cook sees several characteristic in modern life and art: 1) "an utter relaxation of the artistic conscience"; 2) lessening demands on the artist; 3) making art less attuned to "Nature's subtle methods....."; 4) a "blasé revolt against things hitherto considered good, and the invention of new forms of bad work, or the return to primitive blundering." (712) Cook believes that "this new fever is the sign of Art sickening to its death rather than of birth pangs; and that the 'advanced' artists and their friends on the Press have mistaken decadence for progress, and are judging largely by inverted criteria....." (713)
This article, under the same title, appeared in Living Age, 243, No. 3148 (Nov. 5, 1904), 321-33. journalism art art photography photography and visual communication photography, and art art, and photography values photography, and values values, and photography photography, and decadence sound recording phonograph electricity metaphors color photography, and color color, and photography cameras cameras, and art art, and cameras history and new media photography, and history history, and photography gramophone advertising art, and advertising advertising, and art advertising and public relations modernity history, break with critics news and journalism art, and journalism journalism, and art critics, and modernity modernity, and critics critics, and new media duplicating technologies duplicating technologies, and sound recording duplicating technologies, and phonograph duplicating technologies, and printing duplicating technologies, and photography photography, and duplicating technologies printing, and duplicating technologies phonograph, and duplicating technologies sound recording, and duplicating technologies motion pictures, and duplicating technologies duplicating technologies, and motion pictures motion pictures, as lightning flash electricity, and nature's nerve fluid motion pictures, and magic motion pictures, and magic mirror metaphors, and electricity as nerve fluid electricity, and nerve fluid history motion pictures print Cook, E. Wake Progress or Decadence in Art? 20960 Cook, James The X-Rated Economy Forbes
Sept. 18, 1978
122 6 81-88, 92 Forbes reported in 1978 that pornography grossed $4 billion a year, “about as much as the conventional motion picture and record industries combined.” This figure included not only movies but also magazines, adult book stores, peep shows, and commercial ventures. The industry in pornographic movies developed outside the auspices of mainstream Hollywood and the Motion Picture Association of America. By the end of the 1970s, there were about 780 adult movie theaters in the United States (out of 16,827 theaters) that took in more than $365 million annually. values sexuality pornography sexuality sexuality values obscenity law censorship and ratings censorship motion pictures and popular culture motion pictures X-rated films motion pictures, and pornography pornography, and motion pictures Playboy Penthouse obscenity, and pornography motion pictures, and obscenity obscenity, and motion pictures law, and pornography Deep Throat (1972) movie pornography, and corporations pornography, as business Cook, James The X-Rated Economy 29170 Cook, T. D. D. A. Kendzierski S. V. Thomas The Implicit Assumptions of Television Research: An Analysis of the 1982 NIMH Report on Television and Behavior Public Opinion Quarterly
1983
47 161-201 The authors maintain that "the evidence indicates that a small association can regularly be found between violence on television and later aggression when individual differences in aggression are controlled at one time. But is the association causal? If we were forced to render a judgment, it would be: Probably yes.
"What's missing in the NIMH report [1982], as in nearly all television research, are mechanisms for goind from the evidence produced by television researchers to changes in television practice." media research television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures social science research, and press coverage press coverage, and social science research violence, and press coverage journalism, and media violence critics journalism media effects research, and critics motion pictures and popular culture motion pictures, and media effects media effects, and motion pictures violence violence, and motion pictures motion pictures, and violence National Institute of Mental Health (NIMH) critics NIMH, and critics critics, and NIMH children media violence motion pictures news and journalism NIMH pornography press S. V. Thomas The Implicit Assumptions of Television Research: An Analysis of the 1982 NIMH Report on Television and Behavior 9390 Cook, Timothy E. Governing With the News: The News Media as a Political Institution Chicago University of Chicago Press
1998
Timothy Cook uses this book to explain his vision of the press as an instrument of government. He believes that the idea of an independent press, operating outside of the government, is inaccurate. Instead, he sees the press as a social institution that is used by the government to manage the population. It plays an intermediary role in providing selected information and opinions. He goes further to argue that our system of constitutional government could not exist today without the media playing this role.
The heart of this argument is that the press enjoys a special relationship with the state. It is protected by the First Amendment and receives various kinds of subsidies. It is also given special access to information through press releases and news conferences. Journalists are allowed to follow military campaigns, election campaigns and any number of behind-the-scenes situations. In return, the press comes to rely on these official sources of news as the most accurate or authoritative. The press naturally focuses on the government as the source of news.
Cook argues that this leads to “government by press release” in which leaders relate to the public indirectly through the media. Both those in power and those seeking recognition use the media to set agendas and publicize programs or achievements. In effect, this democracy is played out in the media, and it is not clear how it relates to real life situations.
Cook is not entirely critical of this development, but he does suggest that there are problems. He believes that the Internet may evolve into a means for citizens to reclaim a voice in the process and become involved in direct democracy. He also argues that journalists need to become more aware of their role and take it more seriously.
--Rob Rabe computers nationalism advertising, and public relations propaganda advertising journalism Internet freedom news and journalism public relations news nationalism and communication Rabe, Rob First Amendment freedom of the press news, and government public relations, and government news, and public relations public relations public relations, and news computers and the Internet Internet, and news news, and Internet law Cook, Timothy E. Governing With the News: The News Media as a Political Institution 28790 Cookman, Claude A Voice Is Born Durham, N. C. (?) National Press Photographers Association
1985
This book attempts to document the founding of the National Press Photographers Association and the early years of its history under the leadership of Joseph Costa. The book is based on Costa’s papers (about 90 file boxes) at Syracuse University, the first decade of the National Press Photographer magazine, and interviews with Costa and about 35 other people. The work is illustrated with black-and-white pictures and is indexed primarily by people rather than by topics. A brief “Chronology” (174-75) covers events each year from 1945 to 1956. journalism photography and visual communication photojournalism photography cameras cameras, and journalism news and journalism journalism, and photography photography, and journalism timelines references, statistics, timelines, maps National Press Photographers Assocation Costa, Joseph, and National Press Photographers Association journalism Cookman, Claude A Voice Is Born 4900 Cooper, Gail Custom Design, Engineering Guarantees, and Unpatentable Data: The Air Conditioning Industry, 1902-1935 Stephen H. Cutliffe and Terry S. Reynolds, eds. Technology & American History: A Historical Anthology from Technology & Culture Chicago University of Chicago Press
1997
239-69 technology materials home, and new media home home, and information technology networks motion pictures information technology electricity air conditioning networks, electrical technology and society motion pictures, and theaters engineering, electrical information technology, and home engineering materials Cooper, Gail Custom Design, Engineering Guarantees, and Unpatentable Data: The Air Conditioning Industry, 1902-1935 33240 Cooper, Richard N. Ann L. Hollick International Relations in a Technologically Advanced Future Anne G. Keatley, ed. Technological Frontiers and Foreign Relations Washington, D. C. National Academy Press
1985
227-65 Among the "key technological developments" (230) Richard N. Cooper and Ann L. Hollick consider are energy, new materials, computers, telecommunications, aviation and aerospace, and biotechnology. They attempt to assess the likely future political, social, and economic implications of these technologies, and their significance of national policy. The authors cite four secondary sources in their bibliography. technology R & D computers computers technology and society materials, and silicon Reagan administration Reagan, Ronald Office of Technology Assessment (OTA) nationalism nationalism and communication artificial intelligence and biotechnology capitalism research and development computers, and nationalism nationalism, and computers materials nationalism, and materials materials, and nationalism foreign relations, and technology technology, and foreign relations aeronautics and space communication OTA satellites biotechnology telephones telephones, and foreign relations telephones, and nationalism nationalism, and telephones transistors digital media digital media, and foreign relations computers, and software computers, and hardware space shuttle silicon semiconductors presidents and new media Reagan, Ronald, and technology Reagan administration, and technology Reagan administration, and foreign relations foreign relations, and Reagan administration Cold War Cold War, and technology computers and the Internet Reagan administration space communication war Ann L. Hollick International Relations in a Technologically Advanced Future 4600 Cooper, Thomas W. New Technology Effects Inventory: Forty Leading Ethical Issues Journal of Mass Media Ethics
1998
13 2 71-92 Cooper says that new technologies create hidden effects in their environments, altering the social order that they penetrate. These changes are tied closely to ethical issues such as free speech and censorship. But other problems "have new names and dimensions, and may even be new issues. Forty of these issues pertaining to the new communication technologies of the 1990s and next millennium are catalogued here. The author argues that each new communication technology either retrieves, amplifies, transforms, obsolesces, or mixes ethical issues from the past or creates new issues for the future." It is likely, moreover, that issues as yet unknown will emerged as new technologies are combined. ethics computers religion public relations advertising preservation sexuality values history, and new media digitization law community democracy freedom law censorship and ratings censorship history values satellites race propaganda pornography media media mass media information technology Information Age history computers and the Internet history, break with values, and new media ethics, and information technology censorship, and new media free speech, and new media media effects medium is the message automation copyright intellectual property information technology, and consumers democracy and media digital media, and manipulation propaganda, and new media gender, and new media race, and new media information, and the poor information flow obscenity indecency pornography, and new media satellites, and imaging digital media ethics gender values, and digital media digital media, and ethics ethics, and digital media aeronautics and space communication labor advertising and public relations Cooper, Thomas W. New Technology Effects Inventory: Forty Leading Ethical Issues 4910 Coopersmith, Johnathan The Electrification of Russia, 1880-1926 Ithaca, NY Cornell University Press
1992
Coopersmith’s study looks exclusively at the development of an electricity industry in Russia between 1880 and 1926. This span of years is broken up into three period of electrification: under the tsarist government, 1880-1917; during the Revolutions and civil war, 1917-1920; and under communism and the New Economic Policy (NEP) of 1921-1926. Coopersmith relies on technical journals and state archives, as well as some secondary studies of Russian industrialization and development.
The author argues that the "paucity of commercially successful inventors is a striking aspect of Russian electrification and indicative of the societal and economic weaknesses that hindered its development. Russian engineers and scientists were not passive recipients of foreign technologies; they invented and developed their own equipment too . . . Yet only three Russian inventors received national and international recognition in the late nineteenth century . . . Why did invention not translate into success in innovation and application? Responsibility falls on two intertwined causes: a systematic failure of the Russian economic and social environment to support and foster domestic inventions, and technological prematurity, the development of an idea before its supporting materials and components attain technological and economic feasibility.”
Coopersmith sees World War I as a turning point. “World War I was the single most important factor in the transition from electrification in Russia to Russian electrification. The war drastically worsened the environment for utilities, which lost their technology, financing, and fuel just as military requirements sharply increased demand for electricity. This inability to satisfy wartime needs brought electric power to the attention of state officials and industrialists more effectively than a score of prewar petitions. The war forced the government to recognize the economic importance of electro-technology, but the state’s response was too little, too late, and too disorganized to forge an accommodation with the private sector and electrical engineers.”
After the war, Lenin was an enthusiastic proponent of electrification.
– Nicholas Wolf

This text explores the process in which Russia became electrified during the last years of tsarist Russia through the revolutions, the period of Civil War, and finally the first years of Soviet Russia. According to Coopersmith’s evidence, Russia’s progress lags far behind the West in its production, invention and implementation of electrification. This was due in part to many reasons, but most evident was the crippling bureaucracy that plagued the country and stifled invention and new ideas. Russian’s inventors often went abroad to produce their ideas instead of working at home. Russia required foreign work, and investment in order to implement electrification, but was plagued by poor ideas, centralization to such a scale that most cities got little or no electric power, or failure of implementation to such a level that cities such as St. Petersburg were wired with a system that was different in each region of the city, and completely incompatible with each other.
The coming of World War I, forced changes to the country as modernization was required in order to fight the war. During Soviet times, electrical engineers, encouraged by Lenin took new precedence in the country. The grand GOELRO plan was to be implemented using the same framework of previous Russian plans, centralized through St. Petersburg and Moscow, and then to be extended out to other areas. But, the engineers attempted to bite off more than they could chew, as the effort was plagued by lack of resources. Foreign dollars were limited after the Bolshevik revolution. It took until 1924 before the great cities of Russia began to turn the corner and reach their pre-war levels. With Lenin’s death in 1924, Stalin’s industrialization plans began to take precedent over the work of the engineers, and the country traded its focus from giving power to the people, instead to power for heavy industry. The moment available for Russia to catch up to the West in electric power during the NEP years, was lost. The Soviet Union would constantly battle issues with power output throughout the rest of its history, despite bountiful natural resources.
In the second chapter, Coopersmith looks at the invention that did occur in Russia by Russians. Most of the best work done by Russians were done abroad, due to the restrictions and tsarist bureaucracy that crippled new ideas. Russia’s best work was done by its military that encouraged new ideas, but the government scared of rivals to its throne, prevented any wide-scale work. Instead the foreign looking court, turned to more expensive foreign ideas and investments, due to its suspicions of its own people. This was situation that set Russia far behind the west infrastructure-wise a gap evident by World War I.
Chapter 3 focuses on how electrification was implemented in Russia prior to World War II. Coopersmith uses numerous statistics as evidence of just how much Russia lagged. Here facts about the cities of Russia show how poorly electrification was implemented and how disastrous the coming war would be due to the poor infrastructure.
Chapter 4, “The Rise of Electrification, 1914-1917,” focuses on how electrification was implemented in Russia prior to World War II. Coopersmith uses numerous statistics as evidence of just how much Russia lagged. Here facts about the cities of Russia show how poorly electrification was implemented and how disastrous the coming war would be due to the poor infrastructure.
The fifth chapter looks at electrification during the Civil War and the War Communism period. With the country suffering from strife, depression and starvation, electrification took a back seat as the Bolsheviks struggled to keep their foothold on power in the country. But, the engineers, admired by Lenin, gained a foothold and began planning a much more centralized and promoted from the top plan to fully electrify Russia. Electrification was one of the first steps toward the planned communist economy.
Chapter 6 focuses on the development and implementation of the GOELRO plan for Russian state electrification. It would be put along the lines of Regional plans in the past with the focus being Moscow and St. Petersburg. It also allocated plans for the development of new power stations, and the development of Russia’s first massive hydroelectric facilities. GOELRO’s ideas were beyond what was possible given the resources, but Lenin’s encouragement gave the engineers clout to implement such a plan. In the end GOELRO was hardly as successful as expected due to the lack of foreign investment and resources and failure to come up with long term solutions, but rather to implement short term ideas.
“The NEP Years, 1921-1926” is a look with statistics at GOELRO’s work with implementation of its plans. GOELRO succeeded to an extent of getting the country back on its feet and improving conditions for the major cities. However, the program never had the resources or the know how to electrify the countryside. GOELRO was able to be as successful as it was due to the power of its leaders, whose ideas were propaganda for the forward and technologically thinking Bolsheviks, and encouraged by Lenin. After Lenin’s death in 1924 and the end of the NEP in 1926, any plans to move beyond the strict regionalization of work were abandoned in favor of the 5-year plans of the Stalinist period for rapid industrialization. This took away from countrywide electrification, as resources were allocated for industry. Stalin’s reduction of electrification’s role was a reversal of Lenin’s ideas.
Coopersmith’s short conclusion notes that the high point of electrification certainly came during the NEP, and by 1926 Russia’s electrical production had finally exceeded pre-war levels and were steadily improving. Though GOELRO was never as successful as intended, it provided the network that allowed for Russia’s industrial boom of the 1930s. But, like other sectors, the independence engineers enjoyed during the 1920s, was reduced under Stalin’s suspicions and implementation of the of a statewide plan that controlled all sectors of the economy. Electrification became subordinate as opposed to the focal point it was in the 1920s.
-Jason Karnosky USSR nationalism war non-USA networks electricity Russia networks, electrical nationalism and communication Russia Soviet Union Russia, and electricity Soviet Union, and electricity electricity, and Soviet Union Wolf, Nicholas World War I World War I, and Russian electrification Lenin, N., and electrification electricity, and Lenin Lenin, Vladimir I. Karnosky, Jason Coopersmith, Johnathan The Electrification of Russia, 1880-1926 26680 Copp, David// Susan Wendell, eds. Pornography and Censorship New York Prometheus Books
1983
The editors at the time of the book's publication taught in the philosophy department at Simon Fraser University in British Columbia. This anthology grew out of a conference on pornography during fall, 1979. The editors describe the orientation of the work's essays as follows: "The essays are by contemporary philosophers in the Anglo-American tradition, and the issues are approached from a number of theoretical points of view. It is worth mentioning, though, that the essays are secular; those whose thoughts on the morality of pornography are based on a theological position, or on faith, will not find their underlying viewpoints discussed here.
Part One of the book is devoted to philosophical essays: Ann Garry, "Pornography and Respect for Women"; Lorenne M. G. Clark, "Liberalism an Pornography"; Fred Berger, "Pornography, Sex, and Censorship"; Joel Feinberg, "Pornography and the Criminal Law"; T. M. Scanlon, "Freedom of Expression and the Categories of Expression"; Susan Wendell, "Pornography and Freedom of Expression"; Committee on Obscenity and Film Censorship, Chairman, Bernard Williams, "Offensiveness, Pornography, and Art"; and Bonnelle Strickling, with David Copp and Susan Wendell, "Selected Bibliography of Academic and Popular Philosophy."
Part Two contains essays from social scientific research. Authors include: Diana E. H. Russell, Edward Donnerstein, Donnerstein and Leonard Berkowitz, Neil M. Malamuth and James V. P. Check, Dolf Zillman, Jennings Bryant, et al., Berl Kutchinsky, and a select bibliography compiled by Bonnelle Strickling.
Part Three contains Judicial Essays on Regina v. Hicklin, Shaw v. Director of Public Prosecutions, U. S. v. Roth, Miller v. California, Paris Adult Theatre v. Slaton, Regina v. Pink Triange Press, and a select bibliography. women, and new media sexuality pornography motion pictures women feminism court cases law censorship and ratings censorship non-USA motion pictures and popular culture motion pictures, and pornography court cases, and pornography pornography, and motion pictures pornography, and court cases pornography, and liberalism pornography, and social science research pornography, and women women women, and pornography feminism, and pornography pornography, and women pornography, and feminism Great Britain Great Britain, and pornography pornography, and Great Britain Great Britain, and censorship censorship, and Great Britain pornography, and philosophy British Committee on Obscenity and Pornography censorship, and pornographny pornography, and censorship bibliographies, and pornography bibliographies Copp, David// Susan Wendell, eds. Pornography and Censorship 22120 Corliss, Richard He Lost It at the Movies Time
March 23, 1992
139 64 This work mentions the movie Basic Instinct (1992) and the ratings controversy it stirred. Classification and Rating Administration censorship and ratings motion pictures motion pictures and popular culture Cocks, Jay De Palma, Brian Scorsese, Martin Basic Instinct (1992) NC-17 motion pictures, and public relations CARA Classification and Rating Administration (CARA) Corliss, Richard He Lost It at the Movies 27710 Corliss, Richard Murder Gets an R; Bad Language Gets NC-17 Time
Aug. 29, 1994
68 This article criticizes the motion picture rating system which appeared to be more willing to give a severe rating (NC-17) to films with bad language and non-violence sex, than it to movies with high levels of violence. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture CARA NC-17 rating system (U. S.), and controversies CARA, and critics rating system (U. S.), and critics CARA Corliss, Richard Murder Gets an R; Bad Language Gets NC-17 2660 Corliss, Richard Stone Crazy Time
Aug. 29, 1994
144 9 66 This article's subtitle is "Oliver Stone's Natural Born Killers is wild and demonic -- and the work of a virtuoso." This violent 1994 movie, according to Stone and Warner Bros. marketers, was a satire on media violence. Corliss says of the film: "The ride is fun, too, daredevil fun of the sort that only Stone seems willing to provide in this timid film era." motion pictures media effects media violence motion pictures and popular culture violence violence, and motion pictures motion pictures, and violence Stone, Oliver violence, and Oliver Stone critics Corliss, Richard Stone Crazy 25580 Corliss, Richard Taking the Hex out of X Time
Oct. 8, 1990
136 70 Many film critics, including Richard Corliss, and movie makers were dissatisfied with the NC-17 and believed the system remained inconsistent, providing no clear distinction between the R and the new rating category. The NC-17 had merely taken movies out of the “forbidden zone” and placed them in “limbo,” said Corliss. X-rated films censorship and ratings motion pictures motion pictures and popular culture Basic Instinct (1992) NC-17 motion pictures, and public relations NC-17, and critics X-rating Corliss, Richard Taking the Hex out of X 25440 Corliss, Richard What Ever Became of NC-17? Time
Jan. 27, 1992
139 64 Richard Corliss of Time called Basic Instinct a “cop-and-copulation thriller” with a climatic scene “drenched in violence.” It had, he said, “courted scandal” from the start. Other critics of this movie, which starred Michael Douglas and Sharon Stone, argued that the producers had exploited the movie rating system in order to gain publicty. Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality homosexuality Classification and Rating Administration (CARA) sexuality women, and new media advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising press motion pictures media effects media violence lesbianism gays women feminism law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism public relations public relations, and motion pictures public relations, and Basic Instinct motion pictures, and sex motion pictures, and lesbianism motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising Douglas, Michael motion pictures, and bad press coverage press, and poor movie coverage Verhoeven, Paul Eszterhas, Joe Stone, Sharon feminists feminists, and motion pictures gays, and motion pictures Jay Leno Show Corliss, Richard What Ever Became of NC-17? 330 Corn, Joseph J. and Brian Horrigan Yesterday’s Tomorrows: Past Visions of the American Future New York Summit Books
1984
Chambers, Katherine A nicely illustrated (color as well as black and white) book prepared by the Smithsonian Institution Traveling Exhibition Service with interesting discussions of several topics including death rays (one illustration, dated about 1920, shows such a ray knocking a plane out of the sky and is attributed to the Germans), and the “Electronic Battlefield of the Future.” The book has a short but useful bibliography on related works. The work was edited by Katherine Chambers, and was part of the Smithsonian Institution's Traveling Exhibition Service. R & D research and development war future and science fiction war non-USA general studies future Smithsonian Institution death rays military communication lasers television death rays, and Germany Germany, and death rays Germany Corn, Joseph J. and Brian Horrigan Yesterday’s Tomorrows: Past Visions of the American Future 320 Corn, Joseph J. ed. Imagining Tomorrow: History, Technology, and the American Future Cambridge, MA MIT Press
1986
An interesting collection of essays on several media includingradio (Susan J. Douglas); X Rays (Nancy Knight); computers (Paul Ceruzzi); and electric lights (Carolyn Marvin). It also has pieces on “The Home of Tomorrow, 1927-1945" (Brian Horrigan); World’s Fairs during the 1930s (Folke T. Kihlstedt); and “The Technological Utopians” (Howard P. Segal). See also under individual authors. technology entertainment computers entertainment, home photography World Fairs utopianism technology and society technology, and utopianism home entertainment future and science fiction home, and new media home home, and information technology information technology general studies future radio x-rays computers electricity technological utopias photography and visual communication information technology and home home, and new media electricity, and lighting future, and home World Fairs (1930s) utopia, and new media technological utopias computers and the Internet Corn, Joseph J. ed. Imagining Tomorrow: History, Technology, and the American Future 12650 Cornwell-Clyne, Adrian Colour Cinematography London Chapman & Hall, Ltd.
1936, 1939, 1951
This 780-page book, first published in 1936, is a broad survey of color cinematography, a subject for which at the time there was, in the author’s view, “a woeful lack of knowledge of fundamental principles” among those who made motion pictures. The objective here was not so much a detailed history of the subject but rather “to give the reader a reliable description of processes now being worked, and to give a simple outline of the principles upon which all systems have been based.” In the Prefaces to the different editions of this work, the author provides a brief discussion on what he feels are effects of color on audiences and how color on a movie screen differs from our vision of color in the real three-dimensional world.
The book is divided into three parts. Part I, the longest (580 pages), provides a history of color cinematography; a lengthy discussion of the theoretical basis for this technology; two long chapters, one on additive processes, another on subtractive processes; a chapter on color camera and beam-splitting processes, and a chapter on the bipack which had an important role as a way of recording negatives for color cinematography.
Parts II and III are shorter. Part II has chapters on process projection, color film sound tracks, toning, processing of two-color prints by deep tank methods, color stereoscopic motion pictures, make-up, and color sensitometry. The chapters in Part III deal with “The Phenomena of Colour Vision and the Making of Films in Colour,” color harmony, and color standards (with a consideration of the future of color film).
The book has several appendices. One contains a chart of color film (35-mm and 16-mm) sound tracks characteristics. Another is a complete list of British patents “containing every patent having some bearing on colour cinematography.” dyes dyeing motion pictures media effects sexuality violence lighting materials patents color non-USA 35mm motion pictures and popular culture motion pictures motion pictures, and color color, and motion pictures Great Britain, and color motion pictures color, and Great Britain patents, and color motion pictures patents, and British color motion pictures color, and subtractive processes color, and additive processes color, two-process motion pictures, and two-process color 16mm film, and color 16mm film, and Great Britain 35mm film, and color Agfacolor film color, and Agfacolor cameras, beam-splitter cameras, and color motion pictures lighting, and arc lamps color, and Ansco Color color, and bipack Technicolor color, and dyes dyes, and color motion pictures color, and filters color, and Gasparcolor color, and Gevacolor Europe, and color motion pictures color, and Kodachrome 16mm film, and Kodachrome color, and make-up color, and multilayer film sound recording sound recording, and color motion pictures color, and toning color, and three-color process Kalmus, Herbert Troland, L. T. color, emotional responses to media effects, and color Maxwell, James Clerk Great Britain 16mm Europe cameras materials 16mm film Troland, Leonard Cornwell-Clyne, Adrian Colour Cinematography 20870 Corry, John 'Open Mind' Speaks of Ideas New York Times
April 26, 1987
2 This article deals with the public television program "The Open Mind," hosted by Richard D. Heffner, who was also then head of the motion picture industry's Classification and Rating Administration. "The Open Mind" interviewed leading intellectuals and political leaders. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship motion pictures and popular culture motion pictures motion pictures, and Richard Heffner CARA CARA, and Richard Heffner Heffner, Richard, and CARA censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and background Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Corry, John 'Open Mind' Speaks of Ideas 8820 Cortada, James W. Before the Computer: IBM, NCR, Burroughs, and Remington Rand and the Industry They Created, 1865-1956 Princeton Princeton University Press
1993
See also: office Complex mechanical devices gradually found their way into business offices and government agencies. The typewriter, adding machines, tabulating machines, cash registers, and keypunch systems evolved during decades of development. These basic machines became the foundation for computers. The tasks performed by each were incorporated when technology had progressed. The lesson of these machines was that information had to be processed for analysis and that control of any business or entity depended on the accurate and timely generation of relevant data.
Cortada writes that “Like typewriters, adding and calculating machines became permanent fixtures in organizations of any size. They also came closer than the typewriter to fitting the image of a precursor for the modern computer because they computed and handled numeric and, later, alphabetic data. These devices were the direct ancestors of computers. Their evolution led to the creation of computers capable of work that could not be done by calculators. In short, adding machines and calculators contributed to the foundation of the American data-processing industry while they introduced thousands of office workers and scientists to the possibilities presented by mechanical aids to data calculation and handling.”
According to Cortada, such technology, to use James R. Beniger’s phrase, “reflected part of the ‘Control Revolution,’ in which technology was employed to support the flow of greater amounts of information in ever-larger organizations. Most contemporary writers and historians lean toward the economic interpretation of the development of adding and calculating machines.
“As organizations evolved in size and were characterized by multiple layers of management or locations, such structures provided economic incentives to generate cost-effective, useful information. Statistical reports and numerical data, in particular, made it possible for middle and upper management to carry out one of their most vital functions: to inspect performance. The information-handling process directly contributed to the expansion of the managerial class that Chandler called the new mandarins of the economy.”
Cortada discusses the importance of calculating machines to the government, in collecting taxes, and also during World War I and World War II.
--James Landers R & D computers nationalism corporations corporations data processing labor research and development war computers war computers and the Internet Landers, James IBM cash registers computers, and history of calculating machines typewriters computing before computers office, and calculating machines duplicating technologies mimeograph nationalism and communication punch cards computers, and punch cards nationalism, and calculating machines World War I World War II World War I, and data processing World War II, and data processing data processing data processing, and World War I data processing, and World War II capitalism, and data processing data processing, and capitalism military communication military communication, and data processing data processing, and military communication labor labor, and data processing data processing, and labor capitalism office Cortada, James W. Before the Computer: IBM, NCR, Burroughs, and Remington Rand and the Industry They Created, 1865-1956 100 Cortada, James W. Making the Information Society: Experience, Consequences, and Possibilities London and New York Prentice Hall
2002
Cortada maintains that contemporary discussions of the so-called “information society” frequently fail to appreciate that this development is the process of “historical evolution” that has been centuries in the making. “I have concluded that our relationship with information is a far more pervasive feature of American life than journalists, historians, sociologists, or political scientists have told us before. Until now, when they discussed the Information Age, many observers treated it as if it were something new, an emerging world of connectivity through the Internet with vast quantities of information. The discussion is normally all about computers. As you will see, they basically missed the big point, namely that we have been at this for a long time and that it is about much more than computers. As a result, information and its technologies have been a greater part of who we are than otherwise has been acknowledged. New waves of technology are part of a larger pattern making up the American experience.”
The book’s twelve chapters are organized into three groups. Chapters 1-4 offer a general discussion of information technologies over three centuries. Chapters 5-9 look at information technology’s relationship to different aspects of American life: work, leisure, religion, public policy, and democracy. Chapters 10 (“The Future of Information in America”), 11 (“Leveraging Information for Fun and Profit”), and 12 (“Learning More About Info-America”) deal with the question of “so what?” A prominent theme in this work “is the profound influence information technologies have on how information is used.”
Cortada describes himself as a trained historian who spent most of his adult life working for IBM “selling, managing, and consulting on computer-related issues.” R & D information processing Information Age computers obsolete media corporations corporations ARPA values postal service new media research and development war communication revolution literacy communication revolution materials future and science fiction community democracy computers Cold War values capitalism news and journalism war non-USA new media and society information revolution typewriters computers and the Internet calculating machines computers, punch cards obsolete technology computers, and software new media, and work computers, and work new media, and leisure computers, and leisure new media, and religion religion, and new media television television, and religion religion, and television radio radio, and religion religion, and radio new media, and democracy democracy, and new media future, and new media new media, and future capitalism, and new media new media, and capitalism telephones ARPANET AT & T books books, and new media new media, and books Cold War, and computers computers, and Cold War computers, chips military communication computers, and military communication military communication, and computers new media, and economy new media, and capitalism capitalism, and new media ENIAC globalization new media, and globalization globalization, and new media IBM bibliographies information, and bibliographies bibliographies, and information new media, and literacy literacy, and new media Microsoft Corporation newspapers personal computers computers, personal email Post Office bibliographies, and telephones telephones, and bibliographies global communication future books, periodicals, newspapers religion electronic mail materials electronic media news Cortada, James W. Making the Information Society: Experience, Consequences, and Possibilities 39530 Cortissoz, Royal The New York Tribune: Incidents and Personalities in Its History New York New York Tribune
1923
This brief 78-page history of the New York Tribune seeks to recount the most significant people and dates in the paper's history, starting with its founding in 1841 by Horace Greeley. In addition, the author discusses the paper's use of new innovations such as the linotype during the 1880s (52-53) and the use of half-tone photographs by the paper beginning on January 21, 1897. The author, drawing on his own personal experiences, tells of Stephen Horgan's proposal to James Gordon Bennett, Jr. of the New York Herald (53-54) to handle "the half-tone in such wise that it could be printed from the curved stereotyped plates of a newspaper." (54) Bennett's expert mechanic thought Horgan was "merely an idiot" and as a result Horgan was fired. He presented his idea to Whitelaw Reid of the Tribune who in early 1897 published a half-tone of Thomas C. Platt who had just been elected to the U.S. Senate. The paper continued to refine Horgan's process "making a substantial contribution toward the universal adoption of the half-tone as a means of newspaper illustration. It still flourishes," the author says in 1923, "holding its own even beside those developments, exemplified in the rotogravure supplements of The Tribune to-day, for which it pave the way." (54) wood engraving presses journalism fame magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving photography, and presses presses, and newspaper photography newspapers, and photography (origins) photography, and New York Tribune Horgan, Stephen half tones, and Stephen Horgan Sunday newspapers newspapers, and Sunday newspapers linotype newspapers, and linotype linotype, and newspapers Greeley, Horace Reid, Whitelaw celebrity personality Cortissoz, Royal The New York Tribune: Incidents and Personalities in Its History 25860 Costello, Thomas J. Testimony on Behalf of the National Conference of Catholic Bishops, Department of Communication Hearings, "Television Ratings System," Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, First Session
(Feb. 27, 1997)
Feb. 27, 1997 287-90 See also: violence See also: sexuality Here a representative from the National Conference of Catholic Bishops testifies before the U. S. Senate on the need for a rating system for television programs. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings values Christianity Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack social science research censorship and ratings rating system (U.S.) rating system (U. S.) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects media violence government censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship Catholic Church television motion pictures and popular culture motion pictures rating system (U. S.), and television television, and rating system (U. S.) classification, and television television, and classification motion pictures, and rating system (U.S.) television, and censorship censorship, and television Valenti, Jack, and Congress Valenti, Jack, and TV rating system (U.S.) children, and media children television, and Congress violence violence, and mass media violence, and television violence, and motion picture violence, and Jack Valenti hearings (U.S.) MPAA, and public relations MPAA, and television, new media effects social science research, and violence social science research, and TV violence National Conference of Catholic Bishops Catholics, and TV violence television, and Catholics Catholics, and rating system (U. S.) Catholics, and TV rating system (U. S.) rating system (U. S.), and Catholics Valenti, Jack, and Catholics Costello, Thomas J. Testimony on Behalf of the National Conference of Catholic Bishops, Department of Communication 5640 Costigan, Daniel M. Electronic Delivery of Documents and Graphics New York Van Nostrand Reinhold Co.
c1978
labor communication revolution communication revolution community democracy office, and information technology information technology Information Age duplicating technologies facsimile information technology, and office information processing electronic delivery graphics revolution capitalism democracy and media electronic media office, and duplicating technologies office electricity Costigan, Daniel M. Electronic Delivery of Documents and Graphics 5650 Costigan, Daniel M. Fax: The Principles and Practice of Facsimile Communication Philadelphia Chilton Book Co.
[1971]
labor communication revolution communication revolution office, and information technology information technology duplicating technologies facsimile graphics revolution information technology, and office office, and facsimile office Costigan, Daniel M. Fax: The Principles and Practice of Facsimile Communication 11470 Cotterell, Arthur Advanced Information Technology in the New Industrial Society: The Kingston Seminars New York Oxford University Press
1988
See also: office This work is a collection of addresses delivered during autumn, 1986, to British businessmen, government officials, journalists, and others. They were designed to encourage thinking about the impact of "fifth generation" computers. In 1982, Britain's Alvey Committee on Advanced Information Technology had issued a report responding the Japan's Fifth Generation Computer Programme.
The addresses in this volume include: Brian Oakley, "An overview of research and co-operation in Advanced Information Technology"; Chris Humphries, "Implications for education and training"; Sir Geoffrey Allen, "The experience of corporate users: Experience of Information Technology at Unilever"; Derek Seddon "Experience of IT innovations in ICI"; Derek Barker, "Directions for research and development: Directions for Information Technology research and development"; John Taylor, "Expert Systems -- where do we go from here?"; Bill Jordan, "Implications of Advanced Information Technology: a trade union view: Social effects of IT -- past and future"; Dave Rogers, "The problems of IT and their solutions"; and Igor Aleksander, "The Management of Advanced Information Technology." An Appendix is entitled "The Bide Report." computers non-USA labor Great Britain computers and the Internet Japan Great Britain Great Britain, and computers Alvey Programme Bide Report Great Britain, and information technology labor, and information technology computers computers, fifth generation fifth generation computers Japan, and fifth generation computers Cotterell, Arthur Advanced Information Technology in the New Industrial Society: The Kingston Seminars 22740 Court, J. H. Pornography and Sex Crimes -- Re-Evaluation in Light of Recent Trends Around the World International Journal of Criminology and Penology
May, 1977
5 129-57 See also: violence See also: sexuality Court, an Australian researcher, argues that pornography seen through mass media has damaging effects on society. His conclusions disagreed with those of the 1970 President's Commission on Obscenity and Pornography that held there were few harmful effects from pornography and that legal restrictions should be eased. syntheses (of research) social science research sexuality motion pictures media effects crime non-USA motion pictures and popular culture television pornography pornography, and harmful effects social science research, and pornography media effects media effects, and pornography aggression, and pornography pornography, and aggression crime, and pornography pornography, and crime Commission on Obscenity and Pornography (1970) pornography, and opponents Meese Commission Australia Australia, and pornography critics Court, J. H. Pornography and Sex Crimes -- Re-Evaluation in Light of Recent Trends Around the World 22830 Court, John Testimony before the Attorney General's Commission on Pornography Attorney General's Commission on Pornography
Sept. 12, 1985
Sept. 12, 1985 Court, an Austrialian reseacher, was one of several witnesses before the Meese Commission in 1985 to argue that pornography as seen through mass media had harmful effects on individuals and society. Court was critical of the conclusions made by the 1970 President's Commission on Obscenity and Pornography. This testimony can be found in Folder: "Houston -- 9/11/85," Box 2, RG 60 (Justice Dept. Records), National Archives and Records Administration (NARA 2), College Park, MD. entertainment government hearings entertainment, home media effects, and pornography social science research archives sexuality motion pictures home entertainment government censorship and ratings non-USA home motion pictures and popular culture motion pictures, and pornography pornography social science research, and pornography pornography, and social science research pornography, nonviolent Meese Commission hearings media effects media effects, and nonviolent pornography children children, and pornography pornography, and children pornography, and opponents pornography, and harmful effects home entertainment revolution pornography, and home entertainment Australia Australia, and pornography pornography, and Australia home, and new media violence sexuality children, and media Court, John Testimony before the Attorney General's Commission on Pornography 26420 Courtwright, David T. Violent Land: Single Men and Social Disorder from the Frontier to the Inner City Cambridge, MA Harvard University Press
1996
See also: violence See also: sexuality Courtwright, a historian of violence, has some discussion in this book on motion pictures and television programs and the possible effects on those who watch them. sexuality sexuality motion pictures, and sexuality sexuality sex motion pictures media effects media violence motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and sex motion pictures, and violence violence violence, and motion pictures sex, and motion pictures media effects media effects, and violence television violence, and television television, and violence African Americans, and TV violence television, and blacks Courtwright, David T. Violent Land: Single Men and Social Disorder from the Frontier to the Inner City 26370 Courtwright, David T. Way Cooler Than Manson: Natural Born Killers Robert Brent Toplin ed. Oliver Stone's USA: Film, History, and Controversy Lawrence, KS University Press of Kansas
2000
188-201 See also: violence See also: sexuality Courtwright, a historian of violence, compared director Oliver Stone and his movie Natural Born Killers (1994) to a baseball batter who had just “beaned some kids in the cheap seats” with a “low,” hard, line drive. This essay also discusses the film and copycat killers. Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality Classification and Rating Administration (CARA) sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising sexuality motion pictures media effects media violence law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence public relations public relations, and motion pictures public relations, and Natural Born Killers motion pictures, and sex motion pictures, and violence violence violence, and motion pictures sex, and motion pictures nudity, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising language motion pictures, and language nudity CARA, and nudity motion pictures, and nudity Stone, Oliver public relations, and Oliver Stone Stone, Oliver, and public relations media effects media effects, and violence television television, and violence Courtwright, David T. Way Cooler Than Manson: Natural Born Killers 34800 Cousins, Norman Let's Look at the Message Saturday Review of Literature
March 4, 1950
33 9 12-13, 28 In this article, Cousins responds to Eric Johnston's article in the same issue ("Messengers from a Free Country") in which the MPAA president defends American movies abroad. Johnston was reponding to three pieces that Cousins had written attacking the impact of American film abroad. Johnston in his piece listed many movie titles that he said projected a good image of America. Cousins says that the films Johnston's cited "are in fact the 'good-will ambassadors' referred to by President Truman." But he goes on to say that "I seriously doubt, however, that the President has seen reports from Americcan public servants in the field concerning the effects of the preponderance" of American films abroad. (13) Of the movies, Cousins goes on to say that "no medium of communications or entertainment in the world exercises the power -- actual or potential -- of the motion picture. No medium can claim the attentions of as many millions of people for such interrupted periods of time each week or each month. And, as it concerns the war of ideas today, no medium is as effective in projecting America for foreign audiences. Which leads to the basic question: is its sense of public responsibility comparable with its position of public power?" (28) Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects Cousins, Norman Let's Look at the Message 34750 [Cousins, Norman N. C. The Free Ride Saturday Review
Jan. 21, 1950
33 24-25 Cousins, who was editor of the Saturday Review, argued that American movies when shown abroad projected a terrible image of the United States and its citizens. It based this conclusion on having attended American movies abroad and having talked with "American officials abroad." Although he does not mention specific movies, he writes: "In a foreign setting American movies have a meaning and an effect which are difficult to imagine back home. Every word, every gesture becomes almost part of a score card for or against Americans.... You realize that what you are seeing is more than mere entertainment: it is a projection of America, and, as such, of vital importance to the American people at a time when tey are spending millions of dollars to create good will abroad and a real understanding of themselves.... What is involved here is a major matter hitting squarely upon America's stake in world public opinion." (24) Hollywood movies often reinforce the Soviet Union's propaganda that tried "to split off world public opinion from America, to create a deep distrust of Americans as individuals and as a nation, to picture us as selfish, degenerative, depraved, ruthless, acquisitive, anti-humanitarian, and anti-cultural."
(25) Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects [Cousins, Norman N. C. The Free Ride 34760 [Cousins, Norman N. C. The Free Ride, Par II Saturday Review
Jan. 28, 1950
33 20-21 This is the second of three articles that Norman Cousins wrote in early 1950 attacking the impact of Hollywood movies abroad. Here he argues that "Soviet propaganda against the United States was not nearly as damaging as the grotesquely distorted view of the American people being created abroad by our own motion pictures.... The 'kiss-kiss, bang-bang' standard formula of the Grade-B movie is building up an image of the American people that our officials abroad are finding difficult to correct or offset -- at any price." According to Cousins, "the effect of our movies abroad is actually the direct opposite from the one we described." Moreover, "American movies set up false standards for the measurement of a democracy." (20) Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects [Cousins, Norman N. C. The Free Ride, Par II 34770 [Cousins, Norman N. C. The Free Ride, Part III Saturday Review
Feb. 4, 1950
33 4 22-23 This is the third of three article that Cousins wrote in early 1950 arguing that Hollywood movies were creating an impression "of America as a nation consisting largely of quick killers and quick kissers, with a collective intelligence at ceiling zero and practically no contact with civilized values." The movies were doing as much, or more, damage to the U. S. abroad as was Soviet propaganda. Cousins says that movies seems to be made for audiences with "the average mentality ... of a twelve-year-old," but that since the end of World War II the American public has become much more highly educated and needs more responsible and intelligence entertainment. Since the 1920s, he writes, "the mechanical and technical advances in motion pictures have been superb, but the overall policy and story material are just about where they were when sound was introduced." (22) Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects [Cousins, Norman N. C. The Free Ride, Part III 27880 Couvares, Francis G. The Good Censor: Race, Sex, and Censorship in the Early Cinema Yale Journal of Criticism
1994
7 2 233-51 See also: violence See also: sexuality This article by one of the leading historians on film censorship discusses efforts to regulation race and sex in early motion pictures. "The purpose of this essay," Couvares writes, "is to explore efforts to control cinematic representations of sexuality and ethnicity earlier in this century and to suggest that little has changed over time in the arguments pro and con, in proposals for the control of such representations, and even in the nature of the political coalitions that have assembled on both sides of these issues. In particular, the question of harm was always at the center of critiques of movies and mass culture. Whether children, women, or racial and ethnic minorities themselves was seen to be an undeniable justification for action to prevent or punish assaultive expression. Moreover, the effect of movies on potential aggressors was just as strong asserted: some movies, it was argued, aroused while to mistreat, even physically assault blacks; other movies aroused men to assault women, or, at the very least, to view them with contempt." billboards sexuality photography sex seeing at a distance race values postmodernism modernism modernism modernity media effects media violence violence media effects law censorship and ratings values posters new way of seeing motion pictures new way of seeing, and motion pictures modernity photography and visual communication motion pictures and popular culture modernism billboards, and motion pictures motion pictures, and billboards cinema of attractions censorship race, and motion pictures motion pictures, and race race, and censorship censorship, and race violence, and media effects sex, and media effects media effects, and motion pictures media effects, and race media effects, and early cinema censorship, and media effects media effects, and censorship Couvares, Francis G. The Good Censor: Race, Sex, and Censorship in the Early Cinema 16370 Couvares, Francis G. ed. Movie Censorship and American Culture Washington, D. C. Smithsonian Institution Press
1996
This book is a collection of essays by several historians of cinema. Among the topics included in this volume is blacklisting and the Hollywood Ten. blacklisting values Hollywood law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and censorship Hollywood Ten blacklisting, and Hollywood Hollywood, and blacklisting censorship, and Hollywood Ten censorship, and Hollywood values, and motion pictures motion pictures, and values motion pictures, and reform motion pictures, and anticommunism motion pictures, and communism values Couvares, Francis G. ed. Movie Censorship and American Culture 1210 Cowan, G. and R. R. Campbell Racism and Sexism in Interracial Pornography: A Content Analysis Psychology of Women Quarterly
1994
18 323-38 See also: violence See also: sexuality Critics and scholars alike have long considered the content of pornography to be sexist, demeaning to women, and to result in negative effects. There has also been speculation that the content of pornography has similar implications for race. Cowan and Campbell examine the prevalence of racist and sexist themes in 54 X-rated videos. Each instance of a sexually explicit scene involving two characters was coded yielding a total of 476 characters. Each characters gender, race, level of aggression, and other behaviors were coded. They found that male characters were more likely to engage in aggressive acts, with women often being the target of that aggression. Furthermore, black females were more likely than white women to be the targets of aggressive acts. Racism was present in that black characters were more often shown in lower status than were white characters. However, there were differences in how racism and sexism were presented. White women for instance, were more likely to have a male character ejaculate on their face. Black women, on the other hand, were more likely to perform fellatio from their knees, a subordinate position. Furthermore, black women were the targets of a “greater number of different acts of physical and nonphysical aggression than were white women, regardless of the race of the perpetrator” (335). The authors indicate that these findings have implications for how sex and race is viewed in society and that continual exposure to images that portray gender and race in a negative light are deleterious to racial and sexual attitudes.
--Michael Boyle computers video cassette recorders (VCRs) magnetic recording women, and new media women social science research race sexuality motion pictures media effects media violence violence Internet magnetic tape computers Boyle, Michael pornography media effects pornography, and rape myths violence, and pornography pornography, and violence women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects media effects, and violence media effects, and motion pictures violence, and computers computers and the Internet pornography, and computers computers, and pornography Internet, and pornography pornography, and Internet VCRs VCRs, and pornography pornography, and VCRs pornography, and race race, and pornography pornography, and race African Americans African Americans, and pornography pornography, and African Americans Cowan, G. and R. R. Campbell Racism and Sexism in Interracial Pornography: A Content Analysis 1220 Cowan, G. C. Lee D. Levy and D. Snyder Dominance and Inequality in X-Rated Video Cassettes Psychology of Women Quarterly
1988
12 299-311 See also: violence See also: sexuality This study used a content analysis of popular X-rated videos to examine them for prevalence of dominance and exploitation of women. A total of 45 movies released between 1979 and 1985 were used in this analysis yielding a total of 443 sex scenes. The authors found that 54 percent of the sexually explicit scenes coded had dominance and exploitation as themes. Typically, male characters were presented as dominating or exploiting female characters. There was also some evidence for objectification of women in that the majority of scenes containing self-gratification were of women. Moreover, women were more likely to be the subjects of close-up shots. The authors conducted this research from a feminist perspective. They argue that the evidence demonstrates that there is a great deal of material presenting sexual inequality and objectification of women. Moreover, they argue, this could lead to disastrous consequences.
--Michael Boyle computers video cassette recorders (VCRs) magnetic recording women, and new media women social science research sexuality motion pictures media effects media violence violence Internet magnetic tape computers Boyle, Michael pornography media effects pornography, and rape myths violence, and pornography pornography, and violence women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects media effects, and violence media effects, and motion pictures violence, and computers computers and the Internet pornography, and computers computers, and pornography Internet, and pornography pornography, and Internet VCRs pornography, and VCRs VCRs, and pornography Cowan, G. C. Lee D. Levy and D. Snyder Dominance and Inequality in X-Rated Video Cassettes 4920 Cowan, Ruth Schwartz The 'Industrial Revolution' in the Home: Household Technology and Social Change in the 20th Century Stephen H. Cutliffe and Terry S. Reynolds, eds. Technology & American History: A Historical Anthology from Technology & Culture Chicago University of Chicago Press
1997
321-43 technology entertainment entertainment, home home entertainment home, and new media home values home, and information technology networks information technology electricity information technology, and home networks, electrical Industrial Revolution technology and society values, and technology home, and new media Cowan, Ruth Schwartz The 'Industrial Revolution' in the Home: Household Technology and Social Change in the 20th Century 350 Crabbe, John Hi-Fi in the Home London Blandford Press, Ltd.
1968
This book attempts to explains high fidelity and its impact on listening to music and home entertainment. While it is not a history, this work does offer insight into the state of sound recording during the mid- to late-1960s. The book contains a glossary of audio terms and a bibliography that include audio books and pamphlets, audio magazines and annuals, test records, record libraries, as well as a list of manufacturers and retailers. It also has an index. entertainment tape recording, magnetic entertainment, home magnetic recording audio tape magnetic tape recording tape recording public address systems materials materials magnetic tape non-USA home, and new media home sound recording sound recording, and high fidelity home, and high fidelity sound Great Britain Great Britain, and high fidelity recording audio books books, audio magnetic recording tape recorders sound recording, and disc records sound recording, and automobiles hi-fi automobiles, and high fidelity sound loudspeakers sound recording, and records radio, and frequencies radio, FM sound home entertainment home, and sound recording books, periodicals, newspapers radio automobiles transportation books Crabbe, John Hi-Fi in the Home 6180 Crafton, Donald The Talkies: American Cinema’s Transition to Sound, 1926-1931 New York Charles Scribner’s Sons
1997
Charles Harpole, ed. History of the American Cinema Series 4 This is a richly detailed and carefully argued study of Hollywood’s transition to sound. “This book emphasizes the longevity -- not the suddenness -- of the transition to sound. Instead of focusing on one personality, event, studio, or single strand of technological development," Crafton addresses "several interlaced aspects of film production, reception, and, to a lesser extend, distribution.”
He goes on to say that like “much of our general knowledge about Hollywood, the concept of a dividing line between antediluvian silent cinema and the modern talkies was conscripted by the industry and the media.....” The first four chapters in Part 1 are: 1) “A New Era in Electrical Entertainment”; 2) “Electric Affinities”; 3) “Virtual Broadway, Virtual Orchestra: De Forest and Vitaphone”; and chapter 4: “Fox-Case, Movietone, and the Talking Newsreel.” Chapter 18, “The Voice Squad” (from Part 3: “Hearing the Audience”), deals with censorship of sound films.
While the acceptance of sound technology was by no means a certainty during the 1920s, the movies did link themselves and sound with science and electricity.
“Science was often considered progressive in the 1920s, and anything associated with electricity tended to generate awe and respect, as it combined intellectual complexity, the promise of a better future, and the risk of mishandling. The talkies were readily plugged into this popularly constructed circuit that connected new developments in transportation (electric trains and elevators), communication (telephone and radio), and labor- saving and leisure - time appliances (the phonograph). Like other electrical technologies, the sound film was on the cusp of modernity. More specifically, it was the newest application of electrical science, thermionics, which was proffered to explain the ‘origins’ of the talkies and to create an aura of modernity and inevitability. This was the name for the far-flung applications based on the vacuum tube, which include the modern sound cinema.” Chapter 2 on “Electric Affinities” is especially informative. There is discussion here of the connection between movies and radio, the telephone, phonograph, and also television. Crafton also discusses the importance of the microphone and loud speaker.
“The zesty fast-paced era of the 1920s known as the Jazz Age could just as readily be called thermionic Age.... (Thermionics was the predecessor to the word electronics, which was coined in the 1920s but not used widely until after the invention of the transistor in 1947.)...”
There is much more here -- the text of this book runs 546 pages. This work is Volume 4 in Scribner's History of American Cinema series, Charles Harpole, editor. transistors modernity modernism loudspeakers journalism law censorship and ratings news and journalism radio sound recording news networks motion pictures public address systems leisure motion pictures motion pictures, and sound technology electricity electricity, and motion pictures censorship, and motion pictures newsreels motion pictures, and newsreels phonograph sound recording sound recording, and motion pictures networks, electrical transportation leisure, and motion pictures radio radio, and motion pictures television television, and motion pictures telephones telephones, and motion pictures microphones public address systems loudspeakers public address systems thermionics electronics, and use of term transistors De Forest, Lee Vitaphone censorship electronic media modernism, and motion pictures motion pictures, and modernism news, and newsreels materials Crafton, Donald The Talkies: American Cinema’s Transition to Sound, 1926-1931 150 Craig, J. Robert Establishing New Boundaries for Special Effects: Robert Zemeckis's Contact and Computer-Generated Imagery Journal of Popular Film & Television
Winter, 2001
28 4 159-65 See filed under Film & Television articles (2001). This article is part of an entire issue is devoted to "Film and/as Technology." Telotte, who is guest editor, notes that enjoying such technologies such as film we enter into an "unspoken" arrangement with that technology. Film's technological underpinning often go unexamined. This raises important issues "especially to the impact of digital technology and its capacity to reproduce convincingly practically any image."
Articles in this issue include: David Lavery, "From Cinescape to Cyberspace: Zionists and Agents, Realists and Gamers in The Matrix and eXistenZ"; J. Robert Craig, "Establishing New Boundaries for Special Effects: Robert Zemeckis's Contact and Computer-Generated Imagery"; Kelly Ritter, "Spectacle at the Disco: Boogie Nights, Soundtrack, and the New American Musical"; Susan A. George, "Not Exactly 'of Woman Born': Procreation and Creation in Recent Science Fiction Films"; and J. P. Telotte, "The Sounds of Blackmail: Hitchcock and Sound Aesthetic." computers special effects new media motion pictures digital media digitization computers motion pictures and popular culture motion pictures, and new technology new media, and motion pictures motion pictures, and digital media digital media, and motion pictures motion pictures, and digital effects digital effects, and motion pictures virtual reality motion pictures, and special effects special effects, and motion pictures computers and the Internet computers, and special effects special effects, and computers Craig, J. Robert Establishing New Boundaries for Special Effects: Robert Zemeckis's Contact and Computer-Generated Imagery 34370 Crain, Patricia Children of Media, Children as Media: Optical Telegraphs, Indian Pupils, and Joseph Lancaster's System for Cultural Replication Lisa Gitelman and Geoffrey B. Pingree, eds. New Media, 1740-1915 Cambridge, MA MIT Press
2003
61-89 "Originally fashioned to teach the London poor, [Joseph] Lancaster's 'monitorial' system was widely adopted for missionary projects, particularly those of the American Board of Commissioners for Foreign Missions. And in 1821 the Bureau of Indian Affairs, then a branch of the war department, promoted it for teaching American Indians," Crain writes. (61-62)
Crain's essay appears in a volume that is part of a larger series on new media technologies entitled Media In Transition. This volume offers a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. These ten essays examine media that were new in the eighteenth, nineteenth, and early twentieth centuries. The expore "momemts of transition when each new medium was not yet fully defined, its significance in flux...." They attempt to put these media into their "specific material and historical environment" and explain the "ways in which habits and structures of communication are naturalized or normalized." (viii) children native Americans telegraph telegraph, optical optical telegraph education education, and native Americans education, and optical teleegraph telegraph, and education education, and telegraph children, and native Americans children, and media Crain, Patricia Children of Media, Children as Media: Optical Telegraphs, Indian Pupils, and Joseph Lancaster's System for Cultural Replication 340 Crandall, Robert W. and Kenneth Flamm eds. Changing the Rules: Technological Change, International Competition, and Regulation in Communications Washington, D.C. The Brookings Institution
1989
“In 1984," this work begin, "a federal antitrust suit against the American Telephone and Telegraph Company was settled when AT&T consented to a breakup that allowed it to enter businesses other than regulated communications. This settlement was predicated on two beliefs: first, that competition should discipline market participants in telecommunications whenever possible, and second, that AT&T should be free to pursue the potentially convergent technologies of computers and telecommunications.
The Brookings Institution organized a conference in 1987 “to examine the changes brought about by procompetitive policies in the U.S. telecommunications industry, the degree to which those changes were spreading to other developed economies, and the convergence in technologies between computers and communications.” American, European, and Japanese business people, government officials, and university researcher attended the conference. This volume consists of revised versions of the papers given there.
Among the essays of interest is Eli M. Noam’s “International Telecommunications in Transition.” (257-97). Page 299 has an table on large exporters of electronics products in 1979, and from 1983 to 1985. computers corporations corporations non-USA general studies AT&T telecommunications global communication electronic media, and exports Japan computers telephones telegraph Europe electronic media computers and the Internet Noam, Eli Crandall, Robert W. and Kenneth Flamm eds. Changing the Rules: Technological Change, International Competition, and Regulation in Communications 34000 Crane, Gregory Historical Perspectives on the Book and Information Technology David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
117-36 Crane writes that "as a specialist in classical Greek literature and especially as a classicist at a university [Tufts University] largely dominated by engineers, MD-Ph.D.s, social scientists and 'humanists' deeply suspicious of the label 'humanism' and of all traditional culture, I understand the position of marginalized intellectual all too well, but I am, in many ways, more interested in the general public than I am in my professional colleagues." (118) Later he says that "as a humanist, I see little to lose from electronic media. ...Artificial dichotomies between paper and electronic media only distract us from the question of who does what." (136)
Crane's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. information processing books, periodicals, newspapers information storage information retrieval books, history of history and new media audiences books history Information Age Crane, Gregory Historical Perspectives on the Book and Information Technology 1500 Crane, Walter Of the Decorative Illustration of Books Old and New London George Bell and Sons
1896, 1901, 1905
Crane devoted a few pages to the influence of photography. He wrote in 1896 that “Indeed, the photograph, with all its allied discoveries and its application to the service of the printing press, may be said to be as important a discovery in its effects on art and books as was the discovery of printing itself. It has already largely transformed the system of the production of illustrations and designs for books, magazines, and newspapers, and has certainly been the means of securing to the artist the advantage of possession of his original, while its fidelity, in the best processes, is, of course, very valuable.
“Its influence, however, on artistic style and treatment has been, to my mind, of more doubtful advantage. The effect on paintings palpable enough, but so far as painting becomes photographic, the advantage is on the side of the photograph. It has led in illustrative work to the method of painting in black and white, which has taken the place very much of the use of line, and through this, and by reason of its having fostered and encouraged a different way of regarding nature -- from the point of view of accidental aspect, light and shade, and tone -- it has confused and deteriorated, I think, the faculty of inventive design, and the sense of ornament and line; having concentrated artistic interest on the literal realization of certain aspects of superficial facts, and instantaneous impressions instead of ideas, and the abstract treatment of form and line.
“This, however, may be as much the tendency of an age as the result of photographic invention, although the influence of the photograph must count as one of the most powerful factors of that tendency.” illustrations photography print communication revolution news and journalism books, periodicals, newspapers journalism news and journalism printing printing press painting newspapers news magazines illustrations photography and visual communication books, periodicals, newspapers books, and illustrations illustrations, and books books, and photography photography, and books photography, and magazines photography, and newspapers newspapers, and photography magazines, and photography painting, and photography's influence photography, and art and artistic style printing, and photography communication revolution photography, and new way of seeing books Crane, Walter Of the Decorative Illustration of Books Old and New 1510 Crary, Jonathan Techniques of the Observer: On Vision and Modernity in the Nineteenth Century Cambridge, MA MIT Press
1990
Crary says that “this is a book about vision and its historical construction. Although it primarily addresses events and developments before 1850, it was written in the midst of a transformation in the nature of visuality probably more profound than the break that separates medieval imagery from Renaissance perspective. The rapid development in little more than a decade of a vast array of computer graphics techniques is part of a sweeping reconfiguration of relations between an observing subject and modes of representation that effectively nullifies most of the culturally established meanings of the terms observer and representation. The formalization and diffusion of computer-generated imagery heralds the ubiquitous implantation of fabricated visual ‘spaces’ radically different from the mimetic capabilities of film, photography, and television. These latter three, at least until the mid-1970s, were generally forms of analog media that still corresponded to the optical wavelengths of the spectrum and to a point of view, static or mobile, located in real space. Computer-aided design, synthetic holography, flight simulators, computer animation, robotic image recognition, ray tracing, texture mapping, motion control, virtual environment helmets, magnetic resonance imaging, and multispectral sensors are only a few of the techniques that are relocating vision to a plane severed from human observer. Obviously other older and more familiar modes of ‘seeing’ will persist and coexist uneasily alongside these new forms.”
Crary’s attention, though, is focused earlier. “By outlining some of the ‘points of emergence’ of a modern and heterogeneous regime of vision, I simultaneously address the related problem of when, and because of what events, there was a rupture with Renaissance, or classical, models of vision and of the observer. How and where one situates such a break has an enormous bearing on the intelligibility of visuality within nineteenth- and twentieth-century modernity....”
The author sees photography and the scientific realism of the mid-nineteenth century as important developments. But he suggests “that a broader and far more important transformation in the makeup of vision occurred in the early nineteenth century. Modernist painting in the 1870s and 1880s and the development of photography after 1839 can be seen as later symptoms or consequences of this crucial systemic shift, which was well under way by 1820.” Crary sees “the camera obscura as paradigmatic of the dominant status of the observer in the seventeenth and eighteenth centuries, while for the nineteenth century I discuss a number of optical instruments, in particular the stereoscope, as a means of detailing the observer’s transformed status.”
Crary admits that he is not seeking to write “a ‘true history,’ or to restore “to the record ‘what actually happened.’ The stakes are quite different -- how one periodizes and where one locates ruptures or denies them are all political choices that determine the construction of the present.”
This 150-page book is based on published sources, and is often heavily theoretical and filled with jargon. The Bibliography divides work published before 1900 and after that date, and is helpful. computers holograms cyberspace photography seeing at a distance preservation postmodernism modernism modernism modernity communication revolution media effects history, and new media materials materials computers communication revolution, and second industrial revolution history virtual reality television geography radio new way of seeing motion pictures modernity history photography and visual communication history, break with digital media analog media television, and different from digital computers radio, and different from digital computers motion pictures, and different from digital computers stereoscope Baudrillard, Jean new way of seeing modernism postmodernism photography, and new way of seeing camera obscura Benjamin, Walter holography communication revolution Renaissance, new way of seeing Medieval, way of seeing computers, graphics computers, and digital images computers, and new way of seeing digital media, and new way of seeing second industrial revolution space (spatial) flight simulators cyberspace (spatial) virtual environment helmets magnetic resonance imaging sensors, multispectral motion pictures, and phenakistoscope phenakistoscope history, and digital imaging new way of seeing new way of seeing, and Renaissance new way of seeing, and camera obscura cameras new way of seeing, and computers new way of seeing, and digital images computers and the Internet sensors digitization computers and the Internet media effects, and computers modernity magnetic recording Crary, Jonathan Techniques of the Observer: On Vision and Modernity in the Nineteenth Century 1520 Crary, Jonathan Unbinding Vision: Manet and the Attentive Observer in the Late Nineteenth Century Leo Charney and Vanessa R. Schwartz, eds. Cinema and the Invention of Modern Life Berkeley University of California Press
1995
46-71 Crary's essay is part of a collection that attempts to show cinema’s connection to modern life. “It may be unnecessary to emphasize that when I use the word ‘modernization’ I mean a process completely detached from any notions of progress or development, one which is instead a ceaseless and self-perpetuating creation of new needs, new production, and new consumption.” Elsewhere Crary writes that “Even before the actual invention of cinema in the 1890s, though, it is clear that the conditions of human perception were being reassembled into new components.” photography seeing at a distance postmodernism modernism modernity new way of seeing motion pictures new way of seeing, and motion pictures modernity photography and visual communication motion pictures, and modernity motion pictures, and new way of seeing modernism, and motion pictures modernity Crary, Jonathan Unbinding Vision: Manet and the Attentive Observer in the Late Nineteenth Century 11150 Crawford, T. C. The Disappearance Syndicate and Senator Stanley's Story New York Charles B. Reed, Publisher
1894
This story talks about "a central receiver of sound and light," which gives a person the ability to "see and hear what is taking place at a distance. It is also a medium of thought-transference, and a constant radiator of electrical force." It also mentions electrical lights that do not have wires. One character in this novel talks about a device that brings together the principles of the phonograph, telephone, and Edison's kineotograph. Chapter IX is entitled "The Revelations of the House of Light," and says that the "whole world is bare to the gaze of inspectors, who watch the globes that are in our sub-telegraph stations." surveillance future and science fiction television, and history of sound recording television future surveillance seeing at a distance television, and origins thought transference electricity phonograph Crawford, T. C. The Disappearance Syndicate and Senator Stanley's Story 10070 Crawford, Walt Being Analog: Creating Tomorrow's Libraries Chicago and London American Library Association
1999
This book follows an earlier work that Crawford co-authored with Michael Gorman entitled Future Libraries: Dreams, Madness, & Reality (American Library Association, 1995). It warned about the accepting "digital utopias" in constructing future libraries.
"The glory days of the all-digital brigade are in the past," Crawford writes in Being Analog. Within librarianship, the peak may have been 1990-1994. Since Future Libraries, visions of virtual libraries seem to be fading away. Some futurist voices continue to argue for the death of print and the convergence of all media, computing, and communication. The narrowness and emptiness of these projects are becoming apparent to most people."
The chapters in this book are divided into four parts: Part I is "Being Analog"; Part II, "Libraries and Librarians"; Part III, "Resources and Users"; and Part IV, "Creating Tomorrow's Libraries." The concluding chapter is entitled "Revolution through Evolution." The work has a brief, one-page bibliography. archives materials digitization libraries libraries, and information storage information storage libraries, and digital media libraries, analog electronic preservation analog media digital media electronic media libraries critics Crawford, Walt Being Analog: Creating Tomorrow's Libraries 12040 Creighton, Donald Harold Adams Innis: Portrait of a Scholar Toronto University of Toronto Press
1957
This brief 146-page biography covers Innis life from his birth in 1894 and death in 1952. Creighton devotes attention to the formative influences of Innis’s rural upbringing and his participation in the Great War of 1914-1918 during which he was wounded. He notes that Innis developed a dislike of the United States in the aftermath of World War I. The biography then discusses Innis’s work at the University of Chicago and his development as a historian and political economist. It is not until the last twenty-five pages that the author turns to Innis and his study of communication. Creighton notes that by the end of World War II Innis “had ceased spiritually to be a North American,” and that he had become a critic of specialization and “present-mindedness” in economics. By then Innis had come to see communication as a key to understanding history. He insisted upon the necessity of the ‘broad approach’. He valued, above everything else, the truth of synthesis. And he was driven inevitably into a stupendous comparative investigation of the interrelations of communications with politics, economics, and religion, throughout history and over the entire world.”
This work lacks notes, bibliography, and index. imperialism Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories preservation new media non-USA history Innis, Harold Canada political economy cultural imperialism history, break with new media, and history history, and new media biography history, and present-mindedness present-mindedness history Creighton, Donald Harold Adams Innis: Portrait of a Scholar 12700 Cressey, Paul G. The Community -- A Social Setting for the Motion Picture Garth S. Jowett //Ian C. Jarvie //Kathryn H. Fuller Children and the Movies: Media Influence and the Payne Fund Controversy 1933? New York Cambridge University Press
1996
133-216 This unpublished study of movie theaters and the community was original to have been part of the Payne Fund Studies. It is published here in a volume devoted to the theme of movies, children, and the Payne Fund Studies. The editors of this work attempt to rehabilitate the Studies which were the target of a major effort to discredit them by the Hays Office during the 1930s. The Payne Fund Studies were also strongly criticized by such intellectuals as Mortimer Adler in Art and Prudence (1937). Here Cressey gives a fascinating picture of the role that movie theaters had come to occupy in the community. audiences theaters community censorship and ratings children motion pictures and popular culture motion pictures, and children children, and motion pictures theaters, and motion pictures motion pictures, and theaters Payne Fund Studies, and Paul Cressey Payne Fund Studies media effects theaters, and the community motion pictures, and social science motion pictures community, and movie theaters audiences children, and media Cressey, Paul G. The Community -- A Social Setting for the Motion Picture 30090 Cressey, Richard The Cinematographer as On-the-Spot Journalist American Cinematographer
Jan., 1967
48 1 36, 68 In this article, Cressey discusses portable camera technology that allows one person to film and record sound on location. This technology made it possible "to film double-system, split-screen, man-on-the-street interviews." (36) Avoiding vibration and bouncing pictures is determined by how the cameraman wears the camera. This system is still relatively heavy, although Cressey notes that he has "shot continuously for a half hour without the slightest fatigue." (68) He argues that this portable technology offers the non-theatrical cinematographer "long overdue emancipation ... from antique equipment" designed for other purposes. "It beats me," he said, "why we have had to put up with these fossilized tools and procedures for so long." (68) He notes that this camera technology often allows him to cover "news events unobtrusively (except that when I'm finally spotted the 'one-man band' effect causes something of a sensation)." (36)
Cressey was Director of Photography at WNYS-TV in Syracuse, NY, and owned his own production company, "Ideas on Film." Trained as a sociologist, for the previous decade he had been making documentary films, commercials, and newsreels for TV. documentaries cinematography news and journalism television cameras cameras, portable journalism, and portable cameras news, and portable cameras television, and portable cameras cameras, Eclair NPR (1967) location shooting television, and location shooting television news, and portable cameras documentary films motion pictures motion pictures, and documentaries journalism news Cressey, Richard The Cinematographer as On-the-Spot Journalist 33850 Crevier, Daniel AI: The Tumultuous History of the Search for Artificial Intelligence New York BasicBooks, a Division of HaperCollins Publishers, Inc.
1993
Writing in 1993, the author concludes that over "the decade or two ... AI will gradually seep into all human activities, with mostly beneficial effects. Since, during that period, machines will remain less intelligent than people, we should keep the upper hand on them without too much difficulty.
"In the longer term, however, AI remains immensely threatening. The machines will eventually excel us in intelligence, and it will become impossible for us to pull the plug on them.....
"When machine acquire an intelligence superior to our own, they will be impossible to keep at bay.....
"At the very least, human society will have to undergo drastic changes to survive in the face of artificial intelligences. Such changes may be for the best, but the possibility of evil will always be lurking in the silicon innards of our new allies. Their arrival will threaten the very existence of human life as we know it. Whatever the outcome, we will have to radically re-examine our values and ask ourselves such questions as: Is intelligence what humanity is about? Whether it is or not, where do our loyalties belong -- to humanity or to evolution? Can non-biological life achieve a higher spiritual evolution than humanity can?
"It is neither possible nor desirable to outlaw AI. We should not, however, expect the main battles of the twenty-first century to be fought over such issues as the environment, overpopulation or poverty. No, we should expect the fight to be about how we cope with the creations of our own human ingenuity; and the issue, whether we or they -- our silicon challengers -- control the future of the earth." (340-41) R & D future computers strategic defense initiative (SDI) nationalism corporations corporations Defense Advanced Research Projects Agency (DARPA) Advanced Research Projects Agency artificial intelligence and biotechnology strategic computing initiative computers and the Internet Reagan, Ronald presidents and new media Reagan administration, and artificial intelligence ARPA values values, and artificial intelligence digital media nationalism and communication military communication SDI military communication, and aritifical intelligence military, and digital media cybernetics DARPA DARPA, and strategic computing initiative research and development artificial intelligence, and R&D IBM, and artificial intelligence education computers, and language education, and artificial intelligence education, and computers computers, and education computers, and LISP MIT, and artificial intelligence artificial intelligence, and MIT computers, and software robotics Winston, Patrick, and AI Waltz, David, and AI Sussman, Gerald, and AI Simon, Herbert, and AI Schank, Roger, and AI Papert, Seymour, and AI Newell, Allen, and AI Moravec, Hans, and AI Minsky, Marvin, and AI computer, chips McCarthy, John, and AI supercomputers computers, fifth generation future and science fiction artificial intelligence, and values aritifical intelligence, and future Newell, Allen IBM MIT Reagan administration Simon, Herbert computers future Papert, Seymour Crevier, Daniel AI: The Tumultuous History of the Search for Artificial Intelligence 1400 Cripps, Thomas Hollywood's High Noon: Moviemaking and Society Before Television Baltimore Johns Hopkins University Press
1997
Thomas Cripps Hollywood’s High Noon: Moviemaking and Society Before Television (1997) is a captivating study that considers movies as social phenomena and locates its analysis in the period between the two world wars. Cripps, also the author of what Stanley Kutler calls the “authoritative history of African Americans in films, is interested in charting the classist implications of the Hollywood film industry in the first half of the twentieth century. This is a valuable study because it does not simply examine Hollywood from the point of view of the big studios, but it rather from that of the American movie-going population, with particular concern for the ethnic and working-class contingents that have so often been over-looked in social histories of the film industry.
Cripps begins his study about Hollywood’s social effects on the United States by first explaining how Hollywood became the center of the American film industry. Considering The Birth of a Nation (1915) for its stylistic qualities that came to define Hollywood cinema, Cripps writes it is a “key document in the history of Hollywood’s becoming HOLLYWOOD.” (29) Cripps not only notes the innovative style of The Birth of a Nation (which included such features as the close-up, the cross-cut, and the wide-angle shot), but also suggests that its glitzy advertising campaign foretold the future glamour of Hollywood. In addition to this exploration of Hollywoods stylistic beginnings, Cripps demonstrates how World War I helped the movie industry into leveraging national prominence: “with the onset of World War I in the summer of 1914, the American cultural hegemony that had already begun stealing over Europe mushroomed. The war quickly gave birth to a diplomacy that calculatedly entwined American ideology with Hollywood profiteering. . . . The gain for Hollywood was incalculable.” (32) With the growing power and influence of Hollywood during and after World War I, Cripps also shows how a sort of self-standardization emerged, so that trade publications codified every stage of production and distribution.” (34)
After he establishes how Hollywood became HOLLYWOOD, Cripps shifts his focus to the everyday American citizen who consumed Hollywoods products. In order to begin discussing the position of the moviegoer relative to the film industry between the two world wars, Cripps emphasizes the fact that movies were marketed along distinct class lines. He explores the reasons for and effects of having 1st-run showings of movies in palatial theatres in white neighborhoods distinct from 4th-run movies shown in the grind houses of the poorer neighborhoods. With such top-down class distinctions in mind, Cripps moves on to explain how ethnic and working-class moviegoers negotiated the differences between first-run theaters and the fourth-run grind houses, both of which played movies that were largely exclusionary to anyone but a middle-class WASP audience. Cripps argues that the segregation of American movies along race and class lines, coupled with the rise of television, led to the dissolution of the massive movie-going audience of the inter-war period. He writes: "With the passing of the great movie audience and of the movies as an oligopolic medium of entertainment, there passed a form of expression that had simultaneously provided a prismatic spectrum of the politics of entertainment and spoken as though on behalf of a mythic universal American. Classical Hollywood had come to its end, perhaps victim of its own part in the very myth--that of a white bread America--it helped to create, by means of its narrative form and gilded downtown palaces." (67)
Where Cripps study differs from other histories of Hollywood and the film industry is that he devoted serious attention to what he calls “Others” Movies--films that existed outside this myth of a “white bred America.” After a discussion of how Hollywood self-censorship under the Hays office tended to reinforce the white bread myth, Cripps looks at films made by and for minority audiences, particularly African American. Cripps discusses, for example, The Birth of A Race (1918), which was a response to the racist The Birth of a Nation that was intended to explore American race relations from an African-American perspective (132). In addition to explications of particular films, Cripps’ study argues that organizations such as the NAACP and others spearheaded campaigns which, in combination with minorities purchasing power, led Hollywood to revise its production code.
Following such discussions about ethnic alternatives to mainstream Hollywood films, Cripps uses a similar socio-political lens to examine the role of Hollywood during the Second World War, and, finally, to chart the collapse of the studio system in the post-war years. In the end, Hollywood’s High Noon is a nuanced, well-argued study that would be useful for anyone interested in how Hollywood affected Americas multi-ethnic and economically diverse population.
--Steve Belletto race motion pictures Hollywood law censorship and ratings censorship war Belletto, Steve motion pictures and popular culture Hollywood, origins of censorship, and motion pictures motion pictures, and censorship World War I, and motion pictures motion pictures, and World War I World War I race, and motion pictures motion pictures, and race Cripps, Thomas Hollywood's High Noon: Moviemaking and Society Before Television 40810 Crofts, J. Color-Music Eclectic Magazine of Foreign Literature
Nov., 1885
42 5 635-47 The author of this article is Rev. J. Crofts, although what denomination he is (Presbyterian?) is unclear. Crofts begins by discussing color sense in lower animals and quotes extensively from Charles Darwin's Descent of Man (e.g., Part I, chapter iii). Bird and insects often use color as a form of sexual attraction. Here, quoting Darwin: "'Why certain bright colors should excite pleasure cannot, I presume, any more than why certain flowers and scents are agreeable.'" (emphasis in original text) But man differs from lower animals. His senses are not a keen as a dog's, for example. Yet man has a more highly developed sense of beauty. Color is a source of pleasure because "it is when to the glories of light is added the boundless wealth of color" that man's "heart truly rejoices." (638) He maintains that "There is scarcely anything more widely spread, or more commonly strong, than the love of color...." (643) (my emphasis)
Crofts observes that three kinds of people seem to object to color, or are at least indifferent-- those who are color blind, those for whom color doesn't make a difference, and those who are hostile to it perhaps because of religious values. He writes that "That what people are pleased to call 'quiet colors' have something about them savoring of piety, whilst brighter colors are allied to profanity and godlessness, is by no means an uncommon notion amongst people of demure habits...." (639) He offers a story of one person, a member of the Society of Friends, who waged a campaign against colored dyes in 1720. But such people constitute a small minority, Crofts argues. (640)
Croft says that in Darwin's theory it is usually the female who is attracted to the bright colors of the male. Over time, this color sense "would become what we might call a peculiarly feminine faculty." (641) But, he maintains, "it is not ... only in modern times that a special love for color has been attributed to the feminine mind." (641) He gives examples from Virgil to prove this point. (641-42)
Crofts says that "there is, in nature, great wealth of color-harmonies, and abundant suggestions of a pure color-art" (642) but we do not have yet an art comparable to the creations of Beethoven, Handel, or Haydn in music. There "exists, as yet, no color-art as a language of pure emotion." (642) (my emphasis) He writes that "Color, then, has hitherto only been used as an accessory, however important, to form." (642)
The author is inclined to be optimistic about the possibility of color music, and agreeing with H. R. Haweis (who wrote Music and Morals [1872]), says "we are already on the threshold of an age in which color-music will take its place as an emotional art on equal terms with its elder sister, and vie, in the magnificence of its results, with sculpture, architecture, painting, and music." (643) Quoting Haweis: "'What a majestic symphony might not be played with orchestral blazes of incomparable hues!'" (643) (my emphasis) And again quoting Haweis: "'But the color-art must first be constituted, it symbols and phraseology discovered, its instruments invented, and its composers born. Up to that time, music will have no rival as an art-medium of emotion.'" (643)
This article says that "It is surprising what absurd theories have been propounded and conclusions arrived at in the matter of color," (644) and Crofts attempts to debunk them. (644-45) He notes that the colors of nature are often discordant. "As a matter of fact, neither are the sounds of nature nor the colors always harmonious. Even the colors of flowers are sometimes discordant; and the best and truest guide in nature, and the only one to be trusted, is the natural taste of man." (645) Crofts points out that while there may be analogies to be made between music and color, they also "differ in so many points...." (646)
Electricity held the key to color art, Crofts believed in 1885. "We have, as it were, just opened the door of an inexhaustible treasure-house, and taken a stupefied glance at its contents." (647) (my emphasis) Electric light offers "the means of expressing variety, velocity, intensity, form, elation, and depression -- in short, all the complex properties of emotion; and it only requires a master mind to direct and adapt and reduce to system and order what is already in our hands as raw material, for the world to possess a new art-medium of emotion in all respects capable of rivaling music itself." (647) (my emphasis) media effects emotion decadence color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry values values, and color color, and values color, and decadence decadence, and color non-USA color, and non-USA non-USA, and color color, as not decadent electricity, and color color, and electricity color, and music color, and women women women, and color color, as feminine value electricity Crofts, J. Color-Music 38630 Crone, Robert A. A History of Color: The Evolution of Theories of Lights and Color Dordrecht/Boston/London Kluwer Academic Publishers
1999
The author writes that "this book gives a survey of color theories between 500 BC and 2000 AD." (1) Among the ideas explored is the limitations of language in commenting on color. Crone notes that "the number of simple, abstract, color terms is small. In their Basic Color Terms (1969), Brent Berlin and Paul Kay come to the rather unexpected (and not universally accepted [33]) conclusion that in all civilized languages there are exactly eleven: three achromatic (white, grey, black) and eight chromatic (red, yellow, green, blue, brown, purple, organe and pink). ... There is little purpose in enquiring into the physiological process by means of which we can categorize colors. We do not know nearly enough about the neurophysiology of color vision to be able to answer that question...." (236) color, in literature color, and research on color color non-USA non-USA, and color non-USA, and bibliographies color, and inadequacy of language color, in history color, and theory Crone, Robert A. A History of Color: The Evolution of Theories of Lights and Color 33100 Crouch, David//Rhona Jackson //Felix Thompson, eds. The Media and the Tourist Imagination: Converging Cultures New York Routledge
2005
The book is a collection of essays which study the significance of the consumption of images in different approaches to illuminate the interactions between media practices and tourism. Some chapters disclose the institutional power of the media to constraint tourist experience; some, on the contrary, present ethnographic examples of how tourists play active roles in negotiating the meaning of space. Also, there are other chapters which intend to indicate the close relationship between an entertainment industry and tourist development. The collection thus explores the connection between tourism and the media with diverse angles and provides stimulating ideas for thinking of the images and tourist imagination in the notion of consumption. This work is a volume in the Contemporary Geographies of Leisure, Tourism, and Mobility series.
--Huai-Hsuan Chen tourism geography Chen, Huai-Hsuan photography and visual communication photography photography, and tourism tourism, and photography photography, and geography geography, and photography photography, and leisure Crouch, David//Rhona Jackson //Felix Thompson, eds. The Media and the Tourist Imagination: Converging Cultures 9650 Crouthamel, James L. Bennett’s New York Herald and the Rise of the Popular Press Syracuse, NY Syracuse University Press
1989
This book recounts the rise of James Gordon Bennett and the New York Herald, one of the pathbreaking newspapers of the nineteenth century, and one of the earlysuccessful penny papers. Bennett and other penny press editors, exploited new technology such as the telegraph and steam ships to gain an advantage on competitors. Bennett initiatived a form of investigative reporting in the sensation Robinson-Jewett murder case. Here was a paper that exploited sex and violence, used sensationalism, and helped create an early form of mass culture. Nationalism was also a strong theme in Bennett's paper.

-- SV

This is the most useful of the modern studies of James Gordon Bennett, the man often associated with the development of “modern journalism” in the form of the penny newspaper of the antebellum years. Bennett has been the subject of a great deal of scholarship over the years, beginning with several flattering biographies and histories that were penned by his colleagues and friends and continuing with a recent debate over the “mythology” of the penny press. Crouthamel here gives us a more objective and focused account of Bennett himself as a journalist. To a lesser degree, the book is an examination of the rise of a new means of mass communication, the cheap urban newspaper, supported by advertising and circulation rather than party patronage and displaying political independence rather than partisan ties. The penny press is described as a revolution and Bennett, in this account, is the leading revolutionary.
Crouthamel spends the first couple of chapters describing Bennett’s innovations, including the aggressive gathering of news, the use of technology like the rotary press and the telegraph, hiring foreign correspondents, and similar developments that opened the way toward a more modern, timely, and event-centered journalism. Bennett was also, of course, known for unleashing a torrent of sensationalism and dramatic coverage of crime, scandal, and the mysteries of the new urban life. As Crouthamel makes clear, Bennett was largely reviled by his competitors and “respectable” New Yorkers because of this style, but other newspapers were quick to imitate, or at least adapt, some of the more profitable tactics. Regardless of how widely hated he was, there is no question that Bennett showed editors that journalism could be a lucrative enterprise.
The bulk of the book, however, is more of an examination of Bennett’s editorial position, such as it was, on a wide variety of issues. The book, in fact, might be more aptly titled “Bennett’s Opinion on the Issues Affecting American Life,” which perhaps is due to Crouthamel’s track record as a political biographer of editors (he is the author of an early volume on James Watson Webb, who is maybe best known today for having attacked Bennett and beat him with a cane on several occasions). The New York Herald was one of the first independent newspapers, but it was by no means apolitical. Bennett outlined his strongly held if erratic opinions in paper and his large readership made him a force to be reckoned with, even though Crouthamel ultimately argues that people read the Herald despite, rather than because of, its editorial page. Bennett was non-partisan, but tended to support Democratic positions. This did not prevent him from endorsing Whigs and Republicans as they suited his purposes. However, it was Bennett’s strong pro-Southern ideology and his hatred of abolitionists that define him today. Crouthamel also outlines Bennett’s typical use of conspiracy theories to explain policies or developments that displeased him and his vacillation on complicated issues. He was, to say the least, “politically erratic and inconsistent.”
Crouthamel’s book is even-handed and generally well-written if a little bit dry. He also is frank in his acknowledgement of his work’s limitation. Scholars who wish to examine the penny press have very little material aside from issues of the papers and Crouthamel’s argument is based almost entirely on his reading of the Herald. Bennett left very few personal papers and the Herald’s records are not available. This probably explains why it is easier to write about what was in the paper than why the paper was the way it was. Bennett’s political opinions, such as they were, are easily studied from microfilm copies of the Herald. Despite this, James Gordon Bennett and the Rise of the Popular Press is a good study of an innovative journalist and the editorial positions of the nation’s largest circulation newspaper of the mid-nineteenth century. If you are looking for more discussion of the penny press’s non-political content or its popularity with readers, a book like Andie Tucher’s Froth and Scum would be more useful.

-- Rob Rabe nationalism steam power newspapers journalism news and journalism nationalism and communication books, periodicals, newspapers penny press telegraph telegraph, and news Bennett, James Gordon news, and telegraph newspapers, and telegraph steam power, and newspapers news Rabe, Rob newspapers, and steam power telegraph telegraph, and penny press Crouthamel, James L. Bennett’s New York Herald and the Rise of the Popular Press 35450 Crowther, Bosley Changing the Script: Welcome Revisions Made in Production Code New York Times
Dec. 16, 1956
X3 This article discusses the 1956 revision of the motion picture Production Code which relaxed restrictions on treating drug addiction, abortion, prostitution, and kidnapping. Crowther says that the streamlined Code made it "a body of instructions to producers rather than laws." He notes that the appeals process is still flawed what with only executives from the nine studios that were MPAA members. These people passed judgment on their competitors product. Crowther looked forward to the day when the entire Code would be eliminated. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Production Code, and Appeals Board Crowther, Bosley Changing the Script: Welcome Revisions Made in Production Code 35400 Crowther, Bosley Delicate Subjects: A Sober Consideration of the Use of Sensitive Material in Films New York Times
Oct. 29, 1961
X1 This article discusses the state of movie censorship in Hollywood following the MPAA's decision on October 3, 1961, to relax its restrictions under the Production Code and permit treatment of homosexuality in films. censorship self-regulation motion pictures, and sexuality sexuality , news motion pictures sexuality Production Code censorship and ratings Johnston, Eric, and Production Code sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality Crowther, Bosley Delicate Subjects: A Sober Consideration of the Use of Sensitive Material in Films 36390 Crowther, Bosley Dishing the Dirt: A Blast at Mercenary Sordidness in Films New York Times
Sept. 25, 1960
X1 This piece begins: "Something unsavory is happening in the motion-picture realm that demands the exercise of utmost vigilance and responsibility on the part of those who are truly interested in the future of films. This is the tendency of producers, made evident in any number of recent films, to go for licentious stories and/or inject extreme and gross sex details in their works." He goes on to say: "Such pictures as 'Suddenly, Last Summer,' 'From the Terrace,' 'Strangers When We Meet,' and even 'Elmer Gantry,' to mention only a few, have betrayed a concentrated predilection on the part of major producers with the abnormal and crass aspects of sex." self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Suddenly, Last Summer (1960) motion pictures, and foreign markets motion pictures, and American-interest film sexuality sexuality, and motion pictures Crowther, Bosley Dishing the Dirt: A Blast at Mercenary Sordidness in Films 35660 Crowther, Bosley Drugging the Code: Film Company Heads Put Clamp on Change New York Times
Dec. 11, 1955
149 In November, 1955, the New York Times reported that United Artist would release the movie, The Man with the Golden Arm, with or without the PCA’s seal. It was the first time that a major studio had announced its intention to exhibit a controversial film before submitting it to the PCA. The studio did submit the film to the PCA but the PCA refused to approve it. Johnston and the MPAA’s Appeals Board upheld this decision on December 6, 1955, but the studio heads were divided. Only five voted to uphold the appeal while four other abstained. The following day, Arthur Krim announced that United Artist would withdraw from the MPAA in protest. This episode contributed to Johnston's decision to revise the Production Code in 1956. The revised Code permitted treatments of narcotics use in movies. Sinatra, Frank self-regulation motion pictures, and Production Code Administration (PCA) Legion of Decency , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of Legion of Decency, effectiveness motion pictures, and Production Code motion pictures, and PCA motion pictures, and drugs motion pictures, and drugs censorship and ratings Production Code (1956) Krim, Arthur Preminger, Otto Production Code, and United Artists Man with the Golden Arm Catholic Church values Crowther, Bosley Drugging the Code: Film Company Heads Put Clamp on Change 36020 Crowther, Bosley Festival Frustration: Removal of 'Blackboard Jungle' at Venice Raises Grave Questions New York Times
Sept. 4, 1955
X1 Crowther criticizes the decision by U.S. Ambassdor to Italy, Clare Booth Luce, not to attend the Venice Film Festival if the movie Blackboard Jungle is shown. This decision smacks of government censorship, Crowther argues, something not practiced except in wartime. Crowther says this decision will only increase foreign curiosity about the movie and make it more likely that more people will see the film. Crowther, though, also questions the process by which American films are chosen to play in foreign film festivals. self-regulation , news Production Code (1956) Blackboard Jungle censorship and ratings motion pictures, and reform freedom capitalism democracy motion pictures, and freedom motion pictures, and capitalism motion pictures, and democracy Johnston, Eric motion pictures motion pictures, and foreign policy motion pictures, and foreign markets Production Code Production Code (motion pictures) Crowther, Bosley Festival Frustration: Removal of 'Blackboard Jungle' at Venice Raises Grave Questions 36310 Crowther, Bosley Ingenious Paradox: 'Never on Sunday' Puts a Wry Idea on Screen New York Times
Oct. 23, 1960
X1 This article discusses Never on Sunday (1960), the Greek film comedy by blacklisted writer-director Jules Dassin. Written and directed by Dassin, the movie was about an American tourist (played by Dassin) in Greece who attempts, unsuccessfully, to reform a prostitute (played by Melina Mercouri). The movie was made for about $150,000 and made about $5 million in the United States alone. When Dassin’s film played in Atlanta, censors tried to ban it for being obscene, but ban was overturned when the Fulton County Superior Court held the city’s censorship law to be unconstitutional. By that time, the film had played in more than 2,000 theaters in 175 American cities self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) motion pictures, and foreign films Production Code, and foreign films law motion pictures, and local censorship Never on Sunday (1960) motion pictures, and blacklist children blacklisting Crowther, Bosley Ingenious Paradox: 'Never on Sunday' Puts a Wry Idea on Screen 36340 Crowther, Bosley Lesson for Today: Expanded Bible Story in De Mille's New Film New York Times
Nov. 11, 1956
141 Making films abroad sometimes offered movie makers freedom to deal with topics in ways that might not have been possible in the United States. Cecil B. DeMille shot much of his epic film, The Ten Commandments, in Egypt where new movie making technologies such as 70mm film, CinemaScope, and VistaVision allowed him to emphasize the area’s spectacular settings. DeMille took inspiration from classical painters and paid much attention to the use of color in the film. In Egypt, DeMille found it possible to create, according to historian Peter Lev, “a level of sexual display scanty costumes and suggestive scenes which would have otherwise encountered censorship problems in the United States and many other countries,” concludes one film historian. There were other matters with which religious purists might have quarreled. DeMille’s movie dealt with thirty years of Moses’s life not chronicled in the Bible. And in it “emphasis on freedom and the blending of religious and political discourses,” it reflected contemporary American Cold War values. When Eric Johnston, president of the MPAA, negotiated a film exchange with the USSR in 1958, the Soviets declined to take this movie as part of the package. Here, Crowther says that DeMille "has plainly made Moses a hero by all the standards of modern-day success. This hero is played by Charlton Heston with muscular arrogance." Motion Picture Association of America (MPAA) Soviet Union Eisenhower administration , news motion pictures USSR non-USA motion pictures, and foreign markets motion pictures, and foreign policy Eisenhower, Dwight D. presidents and new media Eisenhower, Dwight D., and motion pictures MPAA Motion Picture Export Association Ten Commandments religion values motion pictures, and religion motion pictures, and values DeMille, Cecil motion pictures, and American-interest films hybrid films values Crowther, Bosley Lesson for Today: Expanded Bible Story in De Mille's New Film 36320 Crowther, Bosley The Little Picture: Arguments for Sense Over Physical Size New York Times
Oct. 1, 1961
X1 This article discusses several films including Never on Sunday (1960), the Greek comedy by blacklisted writer-director Jules Dassin. Written and directed by Dassin, the movie was about an American tourist (played by Dassin) in Greece who attempts, unsuccessfully, to reform a prostitute (played by Melina Mercouri). The movie was made for about $150,000 and made about $5 million in the United States alone. Although not discussed in this article, when Dassin’s film played in Atlanta, censors tried to ban it for being obscene, but ban was overturned when the Fulton County Superior Court held the city’s censorship law to be unconstitutional. By that time, the film had played in more than 2,000 theaters in 175 American cities self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) motion pictures, and foreign films Production Code, and foreign films law motion pictures, and local censorship Never on Sunday (1960) motion pictures, and blacklist blacklisting children Crowther, Bosley The Little Picture: Arguments for Sense Over Physical Size 36220 Crowther, Bosley Movies and Censorship: Public Affairs Pamphlet No. 332 New York Public Affairs Committee
1962
This pamphlet provides an intelligent history of motion pictures censorship, both by state and local governments, and by the movie industry. Crowther see television bringing important changes in the entertainment patterns of Americans and changing the audience for motion pictures. TV took away the family audience and hence Hollywood had to come up with more engaging and mature films if it was to survive economically. Crowther explains the significance of the Miracle case. Several states -- Ohio, Pennsylvania, Massachusetts -- soon overturned their movie censorship laws. This work ends with a discussion of the merits and disadvantages of a classification system in which films are rated according to their appropriateness of youth and a discussion of the British classification system which rated films U, A, or X. Crowther notes that in Britain, already the X rating was being used a an advertising lure -- e.g., "the X-iest film on the screen." The author argues for a system in which parents decide what films their children will watch. He maintains that there was already enough information about movies (e.g., The Green Sheet, reviews, etc.) to give parents all they needed to know in making decisions. Burstyn v. Wilson Burstyn, Joseph censorship and ratings motion pictures television motion pictures, and censorship motion pictures, and foreign films motion pictures, and television audiences motion pictures, and audiences law law, and film censorship classification, and motion pictures motion pictures, and classification motion pictures, and First Amendment Miracle case Crowther, Bosley Movies and Censorship: Public Affairs Pamphlet No. 332 36710 Crowther, Bosley New Czar on the Job New York Times
May 1, 1966
125 This article notes that Jack Valenti's selection as the new MPAA president was like a "bolt out of the blue." Valenti is described as "an exceptionally eager and vigorous" leader who "is known to be a human dynamo a tangle of nerves and muscles who likes to get things done." He is quoted as saying "I don't ever remember seeing a bad movie." Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA self-regulation Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Valenti, Jack, and MPAA Production Code, and decline of Production Code, and Jack Valenti Valenti, Jack, and Production Code ,news Nizer, Louis MPAA, and Louis Nizer Production Code Production Code (motion pictures) Crowther, Bosley New Czar on the Job 35820 Crowther, Bosley New Decision Due on Movie Nudity: Industry Panel Weighs Case of 'The Pawnbroker' New York Times
March 9, 1965
30 The movie that first caused the motion picture industry Production Code’s barricades against nudity to give way was a black-and-white film called The Pawnbroker (1965). The movie was filmed on location in Harlem and starred Rod Steiger who played a Holocaust survivor. Shurlock initially rejected the film because it had two scenes showing fully exposed women’s breasts, but because of the important theme, he thought the Appeals Board should decide if the movie deserved special treatment. Although the film got the PCA seal on appeal, the MPAA tried to uphold its nudity ban by making this picture an “exception.” self-regulation motion pictures, and sexuality sexuality , news sexuality censorship and ratings values women motion pictures and popular culture motion pictures motion pictures, and sex motion pictures, and history of sex nudity motion pictures, and nudity censorship, and motion pictures motion pictures, and censorship motion pictures, and exploitation circuit pornography, and motion pictures motion pictures, and pornography sexuality Production Code, and nudity nudity, and Production Code Pawnbroker (1965) Production Code Production Code (motion pictures) pornography censorship Crowther, Bosley New Decision Due on Movie Nudity: Industry Panel Weighs Case of 'The Pawnbroker' 36920 Crowther, Bosley A New Responsibility for Films New York Times
Aug. 28, 1966
1, 14 Crowther talks about the fact that film has become so sophisticated, "aimed at such a wide range of intellects and tastes," (14) that the MPAA should abandon its efforts to dictate which movies it feels are morally pure for specific audiences. The new MPAA president, Jack Valenti, Crowther says, "has a great chance to reevaluate and revolutionize its [Hollywood's] thinking about moral responsibility." (14) Motion Picture Association of America (MPAA) classification MPAA self-regulation sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings Nizer, Louis Valenti, Jack National Association of Theatre Owners (NATO) Crowther, Bosley A New Responsibility for Films 36360 Crowther, Bosley On Places and Faces: New Films Offer a Variety of Views of Geography and History New York Times
Aug. 21, 1955
97 This article discusses several motion pictures, including To Catch a Thief (1955), starring Cary Grant and Grace Kelly, and their use of such technology as CinemaScope,VistaVision, and color. To Catch a Thief, by Alfred Hitchcock, was filmed on the French Riviera. Crowther says the picture gives Cannes "a spaciousness and beauty that makes you feel now and then that it is real." Of the love story between the Grant and Kelly characters, it is made more believeable by "the romantic look made more vivid by color and CinemaScope." Hitchcock, Alfred , news motion pictures color CinemaScope motion pictures, and technology cameras motion pictures, and color color, and motion pictures motion pictures, and widescreen Hitchcock, Alfred, and color To Catch a Thief motion pictures, and American interest films hybrid films VistaVision Crowther, Bosley On Places and Faces: New Films Offer a Variety of Views of Geography and History 36280 Crowther, Bosley Probing Foreign Films: Large Crop of New Ones Runs to Sex Themes and Low-Grade Comedy New York Times
Nov. 3, 1957
137 Crowther writes about eight foreign-made films, the notable being Brigitte Bardot's And God Created Woman. The movie was “so frankly and fragrantly carnal,” and but one of several European-made films that had recently opened in America, that it suggested that sex was “obsessing foreign minds,” said Crowther. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) motion pictures, and foreign films Production Code, and foreign films And God Created Woman Bardot, Brigitte sexuality children Crowther, Bosley Probing Foreign Films: Large Crop of New Ones Runs to Sex Themes and Low-Grade Comedy 36370 Crowther, Bosley Screen: Cat Man Out 'To Catch a Thief' New York Times
Aug. 5, 1955
14 In this review of Alfred Hitchcock's film To Catch a Thief, Crowther discusses the use of such technology as VistaVision and color. The film was one of the so-called "runaway" or American-interest films of the 1950s, film in France along the French Riviera. Crowther says that "Hitchcok has used that famous coast to form a pictorial backdrop that fairly yanks yours eyes out of your head. Almost at the start, he gives you an automobile chase along roads that wind throug cliff-hanging seaside villages." However, the camera man had "a bad time with slow dissolves and fades. He has not mastered VistaVision. It has almost mastered him." Hitchcock, Alfred , news motion pictures color CinemaScope motion pictures, and technology cameras motion pictures, and color color, and motion pictures motion pictures, and widescreen Hitchcock, Alfred, and color To Catch a Thief motion pictures, and American interest films hybrid films VistaVision Crowther, Bosley Screen: Cat Man Out 'To Catch a Thief' 36480 Crowther, Bosley The Screen: ‘World of Suzie Wong’ New York Times
Nov. 11, 1960
36 Filmed in Hong Kong and England, The World of Suzie Wong was a movie about a prostitute (played by Nancy Kwan) and part of the story was set inside a brothel, despite the Code’s explicit restrictions against showing such establishments. The advertising referred to Kwan’s character as a “yum-yum girl,” and Crowther in his review says that Kwan played her “so blithely and innocently" that even women in the audience should like her. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and prostitution Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code World of Suzie Wong motion pictures, and foreign markets motion pictures, and American-interest film Legion of Decency values Production Code, and prostitution sexuality motion pictures, and sexuality sexuality, and motion pictures Crowther, Bosley The Screen: ‘World of Suzie Wong’ 36270 Crowther, Bosley Season of Madness: Strange Things Happen in Local Film Realm New York Times
July 19, 1959
X1 This article discusses the fuss over the French film Lady Chatterley's Lover (1957), which New York State censors tried to ban and a ban which the U. S. Supreme Court later overturned. Crowther says the love scenes in this film are "strangely tepic" for a French film and cannot "hold a candle to the ones" in the British film, Room at the Top, which was a smash hit when it played in the United States. self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) motion pictures, and foreign films Production Code, and foreign films Lady Chatterley's Lover Room at the Top motion pictures, and state censorship children Crowther, Bosley Season of Madness: Strange Things Happen in Local Film Realm 36840 Crowther, Bosley What's the Dingbat For? New York Times
April 9, 1967
97 This article notes that "close to half of the movies released in the United States every year are not even submitted for approval of the Production Code." Most people don't know about the Code or care, Crowther writes. Audiences around the U. S. and especially in New York, do "not give two hoots as to whether a picture has passed the Production Code." Motion Picture Association of America (MPAA) classification self-regulation sexuality sexuality MPAA motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality CARA , news abortion motion pictures and popular culture motion pictures motion pictures, and abortion Production Code Production Code, and abortion Shurlock, Geoffrey, and abortion motion pictures, and abortion motion pictures, and PCA television television, and motion pictures television, and abortion motion pictures, and television motion pictures, and sex television, and sex motion pictures, and sex motion pictures, foreign motion pictures, and foreign censorship and ratings Production Code, 1966 Production Code, and abortion Shurlock, Geoffrey classification motion pictures, and classification MPAA, and classification NATO audiences censorship and ratings National Association of Theatre Owners (NATO) Crowther, Bosley What's the Dingbat For? 4770 Crowther, J. G. James Gerald Discoveries and Inventions of the 20th Century New York E. P. Dutton & Company, Inc.
1955
1914? This work is the fourth edition of a book originally published by Edward Cressy entitled Discoveries and Inventions of the Twentieth Century (1914?). This edition attempts to retain Cressy's original structure. Cressy began, as does this book, "the revival of water-power, economy in the use of fuel, modern steam engines, gas, oil, and petrol engines, and the generation and distribution of electricity." Then follow chapters on electrical lighting and heating, new processing in producing steel, changes in engineering workshops, and electrical furnaces. Then the work deals with refrigeration, and improvements in farming and raising livestock. Subsequent chapters cover railroads, electric traction, motor cars, ships, aircraft, radio and radar, photography, and atomic energy (in the 1955 edition). (Cressy had also considered "recent marvelous discoveries relating to radium, electricity, and matter.") atomic power photography steam power networks general studies electricity photography and visual communication transportation railroads automobiles radar radio refrigeration air travel atomic energy radium water-power steam engines engines, steam engines networks, electrical Cressy, Edward aeronautics and space communication Crowther, J. G. James Gerald Discoveries and Inventions of the 20th Century 7520 Cubitt, Sean Timeshift: On video culture London and New York Routledge
1991
entertainment video cassette recorders (VCRs) entertainment, home magnetic recording time and timekeeping video cassettes time materials materials videotape magnetic tape home, and new media home home, and information technology information technology television time VCRs information technology, and home video cassettes home entertainment home, and VCRs Cubitt, Sean Timeshift: On video culture 34070 Cumberland, Sharon Private Uses of Cyberspace: Women, Desire, and Fan Culture David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
261-79 "The subject of this essay," the author says, "is fiction writing on the Internet, specifically, the erotica written by women in the context of fan culture..... I examine the way in which women are using the paradox of cyberspace -- personal privacy in a public forum -- to explore feelings and ideas that were considered risky or inappropriate for women in the past. I will suggest that the protection and freedom of cyberspace is enabling these writers to defy many of the social taboos that have inhibited self-exploration and self-expression before the emergence of the Internet." (261)
Cumberland's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. computers surveillance women computers and the Internet sexuality women, and sexuality pornography cyberspace audiences audiences, and Internet audiences, and women women, and audiences censorship and ratings freedom computers, and erotica values women, and values values, and women women, and erotica women, and pornography pornography, and women privacy Internet, and privacy privacy, and Internet Internet computers Cumberland, Sharon Private Uses of Cyberspace: Women, Desire, and Fan Culture 28620 Current, Richard N. The Typewriter and the Men Who Made It Urbana, IL; Arcadia, CA University of Illinois Press; Post-Era Books
1954; c1988
This 149-page book examines the invention of the typewriter and is informative about efforts to construct a workable machine before Christopher Sholes patented a successful device. About twenty different inventors in the United States, Great Britain, and France had tried to make writing machines before Sholes. “One might think that the technique of printing with types, widespread before 1500, would soon have suggested the possibility of writing with types. However, no such effort was made, so far as is know, for over two centuries, and no really successful effort for about four centuries. Even the steel pen, a humble enough device, was hailed as a marvelous improvement when it finally began to replace the quill, around 1800.” Pages 144-49 included a reprint of the 1875 trade catalog put out by Densmore, Yost & Co., entitled "The Typewriter." typewriters inventions inventors office, and new media office, and typewriters Sholes, Christopher duplicating technologies writing writing, and typewriters women women, and typewriters military communication military, and typewriters war office Current, Richard N. The Typewriter and the Men Who Made It 33660 Curry, Michael Digital places: Living with geographic information technologies London Routledge
1998
This abstract was provided by the author on his website at UCLA: "The last twenty-five years have seen major changes in the nature and scope of geographical information. This has happened in one way in society at large, where computers, satellites and global positioning systems have made geographical information more extensive, more detailed and more available. It has happened in another way within the university, where rapidly evolving geographic information systems have been touted as tools useful in a wide range of disciplines, tools that will resolve problems as different as the nature of global climate change and the routing of mail. In both settings the move from manual to computer-based systems is viewed as having a natural trajectory, from less powerful to more powerful technologies. These systems are held to be increasingly able to model and represent all that is important in geographical knowledge and behaviour. They are seen as fitting into and supporting traditional scientific and social practices and institutions. Digital Places: Living with Geographic Information Technologies shows that on each score the systems have been misunderstood and their impacts underestimated. By offering an understanding of Geographic Information Systems within the social, economic, legal, political and ethical contexts within which they exist, the author shows that there are substantial limits to their ability to represent the very objects and relationships, people and places, that many believe to be most important. Focusing on the ramifications of GIS usage, Digital Places shows that they are associated with far-reaching changes in the institutions in which they exist, and in the lives of those they touch. In the end they call for a complete rethinking of basic ideas, like privacy and intellectual property and the nature of scientific practice, that have underpinned public life for the last one hundred years."
"Table of Contents
Introduction Part I: The World According to Geographic Information Systems I. Reason and language in geographic information systems II. On space in geographic information systems III. Optical consistency, technologies of location, and the limits of representation Part II: Geographic Information Systems in Practice IV. On the roots of geographic information systems V. The reshaping of geographic practice VI. Who owns geographic information? VII. The digital individual in a visible world Part III: Living with Geographic Information Systems VIII. Place, practice, and the ethics of complex systems IX. Beyond PaleoGIS." computers surveillance computers and the Internet geography aeronautics and space communication satellites satellites, and GPS global positioning systems law satellites, and privacy privacy, and GPS intellectual property computers, and intellectual property copyright law, and intellectual property satellites, and cartography cartography, and satellites law law, and privacy law, and satellites digital media privacy computers global communication Curry, Michael Digital places: Living with geographic information technologies 2150 Curtain, Michael Dynasty in Drag: Imagining Global TV Lynn Spigel and Michael Curtin, eds. The Revolution Wasn’t Televised: Sixties Television and Social Conflict New York and London Routledge
1997
245-62 This work deals with the possibilities of satellite television envisioned by the Kennedy administration after the 1962 launching of Telstar. The author has done research in the Kennedy Presidential Library. Curtain says that this new communication technology is striking in part because of “its profoundly contradictory nature. Global television seemed to offer the prospect of enhancing both global community and superpower struggle. The new medium was characterized as a technology that would encourage mutual understanding, but also as a means of strategic persuasion. It was envisioned as a collective undertaking that would lead to a free exchange of ideas, and yet it was also a technology developed with proprietary corporate interests in mind. In these contradictions, we find important links between television policy and the foreign policy of the New Frontier. For the discourse that emerged with the new technology did not simply produce statements about the national agenda for television, the land of the vast wasteland, it also generated discussions about forging a Free World alliance under the leadership of the United States.” R & D entertainment nationalism imperialism entertainment, home presidents, and new media research and development war Kennedy administration home entertainment war non-USA home, and new media home satellites home, and information technology information technology nationalism and communication aeronautics and space communication global communication satellites, and television Telstar television, and satellites television information technology, and home military communication Kennedy administration, and satellite television cultural imperialism, and satellite television cultural imperialism culture Kennedy, John F. home, and new media satellites global communication global communication, and satellites satellites, and global communication nationalism, and satellites Curtain, Michael Dynasty in Drag: Imagining Global TV 1410 Curtain, Michael Redeeming the Wasteland: Television Documentary and Cold War Politics New Brunswick, NJ Rutgers University Press
1995
Michael Curtain’s Redeeming the Wasteland: Television Documentary and Cold War Politics 1995) takes its title from FCC chair Newton N. Minow’s famous 1961 speech in which he called television “a vast wasteland.” Partly as a reaction to Minow’s charge, in the early 1960s the television industry developed many documentaries that it saw as serving the public good. By first fitting the television industry into a distinct cultural and political climate and then performing close readings of various Cold War television documentaries, Curtain shows that such documentaries were carefully constructed to garner public support for the governments aggressive stance on foreign policy. Curtain writes: “This book is . . . about a distinctive and complicated moment when political and corporate leaders as well as network officials embraced the television documentary in an explicit attempt to mobilize public opinion behind a more activist foreign policy.” (3) In order to prove this assertion, Curtain does not organize his book chronologically, but rather around a series of relationships--such as, for example, mass media and “the national imaginary,” and government institutions and broadcasters. (11) Because the book operates relationally, it is more theoretical than a historical work that sticks to a linear narrative, but in the end Curtains arguments are quite convincing.
Following chapter one, in which Curtain introduces the general climate of New Frontier America, he focuses his discussion on the results of industry-imposed television reform; namely, documentaries that were designed to educate the public against the Communist menace. In chapter two, Curtain focuses on specific documentaries such as “Who Goes There? A Primer on Communism” and “The Death of Stalin” to finally abstract key characteristics that relate to U.S. foreign policy: “In each of these programs the central narrative conflict revolves around the Communist challenge to the Free World.” (40) By analyzing particular aspects of these documentaries (such as editing technique and angle-choice), Curtain demonstrates that many television documentaries in the early 1960s served as visual arguments for the opposition of Communism worldwide.
After analyzing how particular documentaries worked, Curtain expands his discussion to think about how American documentaries functioned on a global scale. Noting the advent of such new communication technologies as the transistor and the communications satellite, Curtain argues that “many government and broadcast executives considered documentary to be one of the most promising ways to use television to bring together the community of the Free World.” (86) Television documentary, then, not only functioned to strengthen opposition to Communism in the United States, but was also used to yoke other countries into a ideological union with America.
In the chapters in which Curtain is not analyzing particular documentaries, he demonstrates how such documentaries were related to television news in general. Through a discussion of the three networks--NBC, ABC, CBS--Curtain shows that they created a discourse of objectivity so that the analyses of television news programs--and, by extension, their longer documentaries--were rarely challenged by the public (150). Despite the fact that challenges were rare because “communists and foreigners were specifically denied standing before the FCC,” Curtain does not think that television documentaries of the early 1960s were necessarily homogenous. He writes: “Although none of these efforts produced fundamentally radical critiques of the status quo, they do point to the fact that even though the genre may have been constrained by powerful economic and institutional forces, the programs were far less predictable than one might imagine.” (151)
Curtains study is an important supplement to books such as William Boddy's Fifties Television: The Industry and Its Critics (1990) because it focuses on documentaries, a genre that enjoyed a relatively large amount of air time in the 1960s, but which has subsequently received little scholarly attention. Curtain also sees his book as augmenting studies of the Cold War period that simply document changes in, for example, gender roles--by examining how television networks purposively shifted their programming in the early 1960s, Curtain attempts to get at how such changes came about, an attempt that is on the whole successful.
Redeeming the Wasteland is useful for anyone who is interested in the specific ways in which the privately-owned television industry produced cultural documents designed explicitly to stir public support for governmental policies. The strength of Curtains book is that he demonstrates how such a relationship worked through close analysis of particular programs, which he then links to larger cultural, economic, and political realties.
--Steve Belletto nationalism corporations Kennedy, John F. corporations corporations corporations transistors integrated circuits television, and values presidents, and new media values Kennedy administration journalism satellites Cold War news and journalism war Belletto, Steve television television, and documentaries Cold War, and television television, and Cold War news, and television television, and news values, and television ABC NBC CBS nationalism and communication nationalism, and documentaries nationalism, and television television, and nationalism Kennedy, John F., and television aeronautics and space communication satellites, and television television, and satellites satellites, and nationalism nationalism, and satellites transistors satellites, and documentaries Kennedy administration, and satellites values news Curtain, Michael Redeeming the Wasteland: Television Documentary and Cold War Politics 28800 Curtis, James Mind’s Eye, Mind’s Truth: FSA Photography Reconsidered Philadelphia Temple University Press
1989
James Curtis uses well known, widely circulated photographs by four FSA photographers--Walker Evans, Dorothea Lange, Arthur Rothstein, and Russell Lee--to address the topic of manipulation in FSA photography. Originally created as part of the New Deal program to alleviate rural poverty, the Resettlement Administration, and its successor the Farm Security Administration, produced images of rural America during the Great Depression that were often perceived as factual documents of the era. Consequently, the images were effectively used as powerful tools for creating social awareness and affecting social change due to their dynamic compositions and expressive statements. In this fine study, Curtis challenges the notion of FSA photographs as realistic and truthful documents of the Depression, and provides visual evidence showing how the photographers deliberately posed and arranged their subjects and surroundings to promote and publicize New Deal relief efforts. Moreover, Curtis emphasizes that Roy Stryker and the photographers sought to convey a specific idea of what America should look like during the Depression, resulting in socially constructed, highly contrived depictions of reality.

-Michele Kroll reform Roosevelt, Franklin D. photography Kroll, Michele photography and visual communication photography, documentary photography, and New Deal Roosevelt, Franklin, and photography presidents, and new media Evans, Walker Lange, Dorothea Rothstein, Arthur Lee, Russell photography, and reform reform, and photography Roosevelt, Franklin administration Curtis, James Mind’s Eye, Mind’s Truth: FSA Photography Reconsidered 2960 Curtis, Scott The Taste of a Nation: Training the Senses and Senibility of Cinema Audiences in Imperial Germany Film History
1994
6 4 445-69 This article appears in an issue of Film History devoted to audiences. Curtis examines the German "cinema reform movement as it dealt with the relation between cinema, children and the masses, taste and nation, education and the body." It looks at how reformers sought to protect children from the dangers of cinema. Curtis focuses on the work on one reformer, Hermann Hälker. audiences nationalism theaters motion pictures censorship and ratings non-USA motion pictures and popular culture Germany Germany, and motion pictures children children, and motion pictures motion pictures, and children (Germany) theaters, and children children, and theaters nationalism and communication nationalism, and motion pictures (Germany) children, and media Curtis, Scott The Taste of a Nation: Training the Senses and Senibility of Cinema Audiences in Imperial Germany 22920 Cusack, Diane D. Statement of Diane D. Cusack Final Report of the Attorney General's Commission on Pornography Nashville, TN Rutledge Hill Press
1986
486-87 Diane D. Cusack was a member of the Meese Commission during 1985-86. President Ronald Reagan had appointed the Commission to study pornography and to make recommendations for regulating it. Cusack had served on the City Council of Scottsdale, AZ, and was convinced that pornography, if left unchecked, would “undermine our social fabric.” She favored vigorous prosecution of pornographers. entertainment computers video cassette recorders (VCRs) post office government hearings entertainment, home magnetic recording photography women, and new media social science research values archives sexuality home entertainment government magnetic tape First Amendment computers and the Internet color freedom values religion censorship and ratings law cable home home, and new media home Meese Commission hearings pornography motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects media effects, and pornography pornography, and media effects, pornography, defined children media effects, and children children, and pornography pornography, and children women women, and pornography pornography, and women religion, and pornography pornography, and religion personal computers personal computers, and pornography media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment pornography, and opponents magazines satellites children, and media Cusack, Diane D. Statement of Diane D. Cusack 350 Cutcliffe, Stephen H. and Terry S. Reynolds eds. Technology & American History: A Historical Anthology from Technology & Culture Chicago University of Chicago Press
1997
This anthology consists of articles that appeared in Technology & Culture between 1963 and 1996. Included in this collection are: Cutcliffe and Reynolds’ introduction, “Technology in American Context”; John G. Burke, “Bursting Boilers and the Federal Power”; Gail Cooper, “Custom Design, Engineering Guarantees, and Unpatentable Data: The Air Conditioning Industry, 1902-1935"; Ruth Schwartz Cowan, “The ‘Industrial Revolution’ in the Home: Household Technology and Social Change in the 20th Century”; Claude S. Fisher, “‘Touch Someone’: The Telephone Industry Discovers Sociability”; Richard F. Hirsh and Adam H. Serchuk, “Momentum Shifts in the American Electric Utility System: Catastrophic Change -- or No Change at All?”; Reese V. Jenkins, “Technology and the Market: George Eastman and the Origins of Mass Amateur Photography”; Bruce Seely, “Research, Engineering, and Science in American Engineering Colleges, 1900-1960"; George Wise, “A New Role for Professional Scientists in Industry: Industrial Research at General Electric, 1900-1916.” technology R & D entertainment entertainment, home photography military communication values values preservation home entertainment history, and new media materials non-USA home, and new media home science progress home, and information technology information technology history Germany general studies technology and society history, and technology progress, and technology air conditioning information technology and home telephones electricity photography and visual communication research and development General Electric Company scientific research and government support materials Cutcliffe, Stephen H. and Terry S. Reynolds eds. Technology & American History: A Historical Anthology from Technology & Culture 39160 Cutler, Martha The Secret of Harmony in Color Harper's Bazaar
Aug. 1905
39 8 762-63 The author says that "Unconsciously our eyes drink it in [color] from our birth, but unfortunately the eyes are too often blind and the senses dulled to the natural beauties surrounding them. It is indeed a mystery why the lessons which are a part of our very life should not in time become an instinct to us all, instead of to the favored few to whom the genius of color insight and feeling is an unstudied as it is unsought...." (762)
"Where instinct is absent study, observation, and experiment must take its place. The color artist needs no rule or law to tell him what is beautiful, but in time he inevitably forms certain well-defined theories as to the means of obtaining certain color effects. Color, after all, is physical, and mystical and elusive though its charms may be, natural laws undoubtedly underlie its combinations as well as its composition, and in time we will have as clearly defined scales and laws of harmony in color as in music, its sister art. Color has been aptly called 'the music of light.'" (762) [my emphasis] As for harmony in color: "The truest harmony surrounds us on all sides, for Nature is full of it and Nature never makes a mistake." (762) (my emphasis)
Cutler says that "all the color have certain definite qualities." (762) She also notes that psychological studies, or experiments, have been done to see what effects color light has upon the retina. (763) theater theater religion religion, and color magic emotion decadence censorship censorship color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations theater and stage color, and theater theater, and color censorship and ratings color, and censorship censorship, and color magic, and color color, and magic color, and music media effects color, media effects media effects, and color Cutler, Martha The Secret of Harmony in Color 13300 Cutlip, Scott M. A Public Relations Footnote To the Pete Rose Affair Public Relations Review
Winter, 1989
15 46-48 This article discusses the creation of the Motion Picture and Distributors Association (MPPDA), which hired Will H. Hays as its president, in the wake of the Fatty Arbuckle scandal. It draws parallels to the creation of the MPPDA and the establishment Major League Baseball Commissioner's office created after the Black Sox Scandal of 1919. Motion Picture Association of America (MPAA) self-regulation Production Code PCA advertising, and public relations propaganda advertising public relations Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA MPPDA motion pictures and popular culture motion pictures public relations, and MPPDA public relations, and motion pictures MPPDA, and creation MPPDA, and public relations Hays, Will H. Arbuckle, Fatty motion pictures, and scandal Production Code (motion pictures) Cutlip, Scott M. A Public Relations Footnote To the Pete Rose Affair 13270 Cutlip, Scott M. The Unseen Power: Public Relations. A History Hillsdale, NJ Lawrence Erlbaum Associates
1994
This work provides a comprehensive history of public relations. The author, who taught many years at the University of Wisconsin, Madison, was one of the pioneers in public relations education and in writing the history of this field. This large work attempts to be a comprehensive history of the field. It discusses public relations in the context of various media. advertising and public relations propaganda advertising public relations advertising motion pictures and popular culture motion pictures motion pictures, and public relations public relations public relations, and motion pictures Bernays, Edward Lee, Ivy propaganda propaganda, and public relations public relations, and propaganda Cutlip, Scott M. The Unseen Power: Public Relations. A History 28760 Cutlip, Scott M. comp. A Public Relations Bibliography Madison and Milwaukee University of Wisconsin Press
1957, 1965
The second edition of this unannotated bibliography has 5,949 entries. One section of this work deals with "Communications, Tools, and Media," and covers works dealing with film, newspapers, books, magazines, radio, television, and advertising as they are related to public relations. Another section covers public relations and the military. Cutlip was one of the early advocates of studying public relations as both a profession and as a social force in American culture. bibliographies bibliographies, and public relations advertising and public relations motion pictures, and public relations public relations radio radio, and public relations television television, and public relations books, periodicals, newspapers newspapers, and public relations books, and public relations magazines, and public relations advertising newspapers books magazines motion pictures news news and journalism Cutlip, Scott M. comp. A Public Relations Bibliography 5190 Czitron, Daniel Media and the American Mind: From Morse to McLuhan Chapel Hill University of North Carolina Press
1982
This informative survey is good on how such theorists as John Dewey, Charles Cooley, Robert Park, Harold Innis and Marshall McLuhan viewed communication as well as on individual media such as the telegraph, wireless, and television.

The telegraph, movies and radio wrought significant changes in American society after their introduction. Initially, the public enthusiastically welcomed each invention as beneficial to society. Gradually, concern developed regarding the cultural influence each medium had, especially the supremacy of commercialism and its consequent determination of media content. Also, control of each medium by a limited number of corporations caused worry among some libertarians, scholars and social activists. Later, philosophers and sociologists would assess the effects of each medium, would analyze the process of communication via mass media and would theorize about the possible impact of new media on society. The study of mass communications would benefit researchers, who learned to refine their techniques and to evaluate the variety of factors that affected recipients of messages from the mass media.
– James Landers preservation history, and new media non-USA history telephones telegraph television Innis, Harold McLuhan, Marshall Park, Robert Cooley, Charles Dewey, John general studies global village global communication radio wireless communication motion pictures Landers, James motion pictures, and history history, break with Czitron, Daniel Media and the American Mind: From Morse to McLuhan 42520 Daingerfield, Elliott Color and Form -- Their Relationship Art World
Dec. 1917
3 179-80 The author, Elliott Daingerfield (1859-1932), was a well-known Southern landscape painter during the late 19th and early 20th centuries, and was one of small number of artists commissioned Sante Fe Railroad to paint the Grand Canyon. In this article he discusses the relation between drawing, or form, and the use of color. "Drawing defines form, color reveals it," he says. (179) "We may then rach almost an axiomatic statement that color without form is chaos. No haphazard assemblages of the palette, no flowing together of chance tones may rightly be considered color when we are considering the art of Painting." (179)
Daingerfield comments on color's impact on psychology. "Color is sensation, and because of this curious and powerful effect upon the nerves of man, it is possible for him to become inebriate, a color inebriate, and when that happens he loses all or nearly all sense of form. A study of the works of Monticelli will show beautiful drawing in his earlier things, progressing then through various changes, as the power of color took hold upon him, until at the last he had become so heavily 'doped' with color sensation that form is lost, and we have a jumble of colors, each lovely in itself perhaps, but contradictory when considered as painting. And so the mind asks, what is it all about?" (179)
Daingerfield discusses the harmonious use of color and its relation to Nature. "We are not ready to return to the barbaric excitement of a spot of red or yellow or to enter the mad-house from a suffusion of yellow and purple. For this we cannot give up the exquisite delicacy of nature, her sumptuousness of color and the magic of her grays.
"Everywhere in God's world, indeed, we find the Master Worker using from, color; color, form. Nor is it out of doors alone that this law is at work; the delicacy of a child's face reveals it quite as entirely; and always the color must express the form. There has been much of rhapsody written about colorists. We are told their going made in the glory of it, and then we see their things 179/180 and no longer wonder; indeed, the only wonder is that any who have seen the works remain sane." (179-80)
This article was part of a symposium on color in this issue of Art World. emotion decadence color, in literature color, and research on color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and passion color, and sensations media effects color, media effects media effects, and color color, and sensuality lighting lighting, and color color, and lighting color, and music censorship color, and dope color, and inebriation metaphors color, as inebriation color, as dope color, and Nature color, and magic color, and barbarism color, and red color, and yellow color, and morality color, and immorality color, as viewed by an artist color, and form color, and drawing Daingerfield, Elliott Color and Form -- Their Relationship 13540 Dale, Edgar Children's Attendance at Motion Pictures New York Macmillan Company
1935
This volume in the Payne Fund Studies is an n early effort to document attendance of motion pictures by children. In Children’s Attendance at Motion Pictures (1935), Dale argued that the number of children attending the movies was much greater than the industry acknowledged. He called on parents to be more active. Preferably they should attend films with their children, and failing that, they should at least help them interpret what they had seen. In 1929-1930, he had used Columbus, Ohio as a case study, and also sent out more than 50,000 questionnaires to collect movie attendance data on school children in fifty Ohio communities and several localities in one North Dakota county. From that data, he extrapolated that throughout the United States, perhaps a third of motion pictures audiences were made up of youth under the age of twenty-one, and that parents were accompanying their children to the theaters less and less frequently. Because children lacked adult experience, they were unable to make mature judgments about what they watched, and could “only acquiesce” in what they had seen. education censorship and ratings children audiences motion pictures and popular culture motion pictures motion pictures, and social science media literacy, and motion pictures media literacy motion pictures, and critics Payne Fund Studies education, and motion pictures children, and motion pictures motion pictures, and children audiences, and motion pictures motion pictures, and audiences children, and media Dale, Edgar Children's Attendance at Motion Pictures 13550 Dale, Edgar The Content of Motion Pictures New York Macmillan
1935
Payne Fund Studies This volume in the Payne Fund Studies was an early attempt to analyze the content of motion pictures. Dale analyzed several hundred feature films released at five-year intervals between 1920 and 1930. His method involved using plot summaries in Harrison Reports; he actually watched 115 of these pictures, and selected forty to study in detail. The social values embedded in movies worried him. In The Content of Motion Pictures (1935), he analyzed about 1,500 movies between 1920 and 1930, and discovered that sex, love, and crime dominated. Half the movies that treated love emphasized sex. The considerations of problems confronting singles over thirty or the difficulties encountered in marriage were so unsatisfactory that Dale doubted if young people gained any insight to what that they might later encounter. Rarely did films explain why people turned to crime -- its causes and remedies were neglected. Criminals sprang “Minerva-like...from the head of Jupiter” in the movies, and were not always shown to be punished. In an age of prohibition, alcohol was featured in seventy-five percent of the films, and tobacco was used in almost ninety percent of the pictures. Movies that dealt with history, travel, or children’s themes accounted for only a minuscule percentage of the pictures that Dale studied. education censorship and ratings children audiences motion pictures and popular culture motion pictures motion pictures, and social science media literacy, and motion pictures media literacy motion pictures, and critics Payne Fund Studies education, and motion pictures children, and motion pictures motion pictures, and children audiences, and motion pictures motion pictures, and audiences motion pictures, and content children, and media Dale, Edgar The Content of Motion Pictures 13520 Dale, Edgar First Symposium on Elements Out of Which a Program Looking Towards National Film Policies in Motion Pictures Can Be Selected Motion Picture Research Council Papers
Sept. 15, 1933
Box 57 Edgar Dale wanted a national policy regarding motion pictures that would protect free expression in order that real artists could get the chance to put their visions on screen. As with great writers or painters, it did not matter that the movie maker’s vision might be “incorrect,” or that it might conflict with society’s conventions. In fact, he acknowledged that his plan might lead to pictures which were “flatly opposed to prevailing notions about things.” Dale wrote three volumes in the Payne Fund Studies. addresses motion pictures and popular culture motion pictures motion pictures, and critics Payne Fund Studies Dale, Edgar motion pictures, and critics motion pictures, and social science Motion Picture Research Council Dale, Edgar First Symposium on Elements Out of Which a Program Looking Towards National Film Policies in Motion Pictures Can Be Selected 13530 Dale, Edgar How To Appreciate Motion Pictures: A Manual of Motion-Picture Criticism Prepared for High-School Students New York Macmillan Company
1933
This volume in the Payne Fund Studies was an early effort to teach media literacy -- in respect of motion pictures -- to high school students. He wanted the public to be educated about film’s power. As an art form cinema was comparable to drama, literature, painting, and music, “too fine an instrument to be used only for passing entertainment or to kill time.” The public needed to learn how to discriminate between good and bad films just as they might discern the difference between great literature and pulp fiction: “to enjoy with understanding,” as he put it. To that end, he prepared a manual, How To Appreciate Motion Pictures (1933), to help high school students. It covered the gamut of film making, from cameras, to acting , directing, and settings. He ended with controversial recommendations. One advocated doing away with the star system and celebrity culture that was growing up around it. Another called for creating a “new point of view regarding the place of motion pictures in our scheme of living,” so that cinema could better speak to such problems as abolishing war, crime and punishment, “the more satisfactory distribution of wealth,” and understanding democratic government. He challenged Hollywood to produce movies for adults and different films for children. education censorship and ratings children audiences motion pictures and popular culture motion pictures motion pictures, and social science media literacy, and motion pictures media literacy motion pictures, and critics Payne Fund Studies education, and motion pictures children, and motion pictures motion pictures, and children audiences, and motion pictures motion pictures, and audiences children, and media Dale, Edgar How To Appreciate Motion Pictures: A Manual of Motion-Picture Criticism Prepared for High-School Students 33770 Dale, Robert An Introduction to Artificial Intelligence Allan M. Din, ed. Arms and Intelligence: Weapon and Arms Control Applications of Advanced Computing New York Oxford University Press
1987
33-46 This paper grew out of a 1986 workshop sponsored by the Stockholm International Peace Research Institute. The abstract for Dale's piece describes it as follows: "The research area of artificial intelligence is described in terms of its programming languages, like Lisp and Prolog, and of various techniques, such as search and knowledge representation. A number of application areas are discussed with particular mention of some important expert-system techniques and their practical relevance." R & D computers computers Soviet Union simulations strategic defense initiative (SDI) Reagan administration nationalism microprocessing Defense Advanced Research Projects Agency (DARPA) computers and the Internet artificial intelligence and biotechnology artificial intelligence strategic computing initiative aeronautics and space communication Reagan administration, and artificial intelligence Reagan, Ronald Reagan, Ronald, and computers military communication nationalism, and communication computers, and artifical intelligence military communication, and artificial intelligence nationalism, and computers DARPA Japan computers, and chips research and development USSR microelectronics microprocessors personal computers computers, personal war war, and artificial intelligence computers, and war war, and computers SDI Reagan administration, and SDA satellites computers, and simulations simulations, and computers non-USA Dale, Robert An Introduction to Artificial Intelligence 19670 Dallek, Robert Flawed Giant: Lyndon Johnson and His Times, 1961-1973 New York Oxford University Press
1998
This biography of Lyndon B. Johnson has information about Jack Valenti, who after leaving the Johnson administration in 1966, became president of the Motion Picture Association of America. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA Johnson, Lyndon CARA Classification and Rating Administration (CARA) Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti biography Dallek, Robert Flawed Giant: Lyndon Johnson and His Times, 1961-1973 42260 Dana, Charles A. Journalism. A Lecture Delivered to the Students of Union College McClure's Magazine
May 1895
4 6 555-63 In this address to Union College student, the New York Sun’s editor, Charles A. Dana, discusses what it takes to become a good journalist and also the state of the newspaper business in 1895. He expressing skepticism about the creation of schools of journalism which was happening in some universities then. A for the new journalism departments, he said “I have never found that a student or graduate who had pursued that department, instead of pursuing other studies, was of any great value as a practical worker in the newspaper work ….” (556) He was in favor of a general education, though, that included Greek and Latin. “I had rather take a young fellow who knows the Ajax of Sophocles, and who has read Tacitus, and can scan every ode of Horace, I would rather take him to report a prize-fight or a spelling match, for instance, than to take one who has never had those advantages.” (556)
The first requisite of a good journalist was “a thorough knowledge of English.” (558) The second was “a knowledge of politics” (558). Studying the U. S. Constitution was essential to understanding American government, he said. (559) In addition “the newspaper man should know the Bible, Shakespeare, and Milton.” (560)
Dana thought that transmission of news by electricity had revolutionized newspapers and journalism. “What a wonder, what a marvel it is, that here, for one or two cents, you buy a history of the entire globe of the day before!” he told students at Union College in 1895. “It is something that is miraculous, really, when you consider it.” (563) It would give the newspaper profession “a higher dignity” than ever before, he said. (563) news and journalism education education, and journalism journalism, and education journalism, and journalism schools journalism, and Charles A. Dana Dana, Charles, and journalism education electricity telegraph electricity, and journalism journalism, and electricity Dana, Charles, and telegraph Dana, Charles, and journalism schools journalism schools, and Charles A. Dana Dana, Charles A. journalism Dana, Charles A. Journalism. A Lecture Delivered to the Students of Union College 12660 Daniel, Eric D.//C. Denis Mee //Mark H. Clark, eds. Magnetic Recording: The First 100 Years New York IEEE Press
1999
This work provides an excellent introduction to the history and development of magnetic recording, a field that by the end of the twentieth century had become a $100 billion industry employing a half million people. The book is organized around three broad areas: audio recording which constituted magnetic recording from 1898 to the end of World War II; video recording, which began in the early 1950s; and data recording, which also began to take form during the early 1950s.
The editors of this volume maintain that only four generic design formats, each pioneered 30 to 60 years prior to this books appearance (1999), have endured over the long-term. They are: 1) the Magnetophon audio recorder developed in Germany during the 1930s and 1940s, and which used magnetically coated plastic tape. It created the format for later magnetic tape recorders that used stationary heads. 2) The quadruplex video recorder, introduced by Ampex in 1956, set the standard for all video recorders that used heads that scanned moving tape. 3) The random access method of accounting and control (RAMAC) disk file, developed by IBM also in 1956. This development followed the appearance of electronic computers and it met an urgent need for data storage devices with much more rapid access than tape. The RAMAC set the format for “hard” disk drives. 4) The diskette, which IBM developed in the late 1960s which permitted random access to any recorded track and which became a removable, low-cost storage apparatus. This invention provided the basic format for all later “floppy” disk drives.
The creators of this volume predict that in the future digital magnetic recording will increase, that the storage capacity on magnetic media of all kinds will continue to grow, and that magnetic recording in some areas will be challenged by optical disk recording – e.g., audio compact discs (CDs), CD-ROMs, and DVDs (digital versatile disks).
This work has more than 100 illustrations and more than 90 photographs. illustrations computers video cassette recorders (VCRs) corporations corporations corporations corporations discs, compact data storage magnetic recording video cassettes preservation optical disks archives materials materials videotape magnetic tape digitization computers compact discs (CDs) CDs non-USA sound recording television radio computers and the Internet magnetic recording sound recording, and magnetic tape video recording magnetic recording, and video magnetic recording, and sound magnetic recording, and data storage history, and new media data storage, and magnetic recording optical disk recording optical disk recording, and CDs optical disk recording, and CD-ROMs optical disk recording, and DVDs digital versatile disks DVDs CD-ROMs compact discs (CDs) computers, and floppy disks computers, and data storage computers, and hard drives Magnetophon audio recorder sound recording, and Magnetophon VCRs VCRs, and quadruplex video recorder RAMAC Random Access Method of Accounting and Control (RAMAC) sound recording, and magnetic tape sound recording, and wire sound recording, and steel tape Poulsen, Valdemar sound recording, and Valdemar Poulsen sound recording, and Oberlin Smith Smith, Oberlin Pfleumer, Fritz, and tape recording sound recording, and Fritz Pfleumer sound recording, and IBM computers, and IBM IBM BASF, and sound recording sound recording, and BASF Germany, and sound recording Germany Austria Austria, and sound recording Ampex, and sound recording video recording, origins Betamax Sony Corporation VCRs, and VHS video cassette recorders (VCRs), and VHS video cassettes cassettes, video digital media digital audio recording digital video recording television, and magnetic recording television, and videotape quadruplex recorders RCA Telegraphone sound recording, and Telegraphone Video Home System illustrations digitization, and magnetic recording information storage illustrations history materials Daniel, Eric D.//C. Denis Mee //Mark H. Clark, eds. Magnetic Recording: The First 100 Years 29980 Daniels, William H. The Drawing Room Comedy Marriage on the Rocks American Cinematographer
Sept., 1965
46 9 567-69 This article discusses the problems of shooting on location for the movie "Marriage on the Rocks," produced by Sinatra Enterprises. The cost for perhaps 100 people would have been about $175,000. motion pictures location shooting motion pictures, and location shooting movie, Marriage on the Rocks Marriage on the Rocks location shooting, and problems cameras cameras, and lens Sinatra, Frank values motion pictures, and marriage cinematography Daniels, William H. The Drawing Room Comedy Marriage on the Rocks 11810 Danko, George M. and Friedrich B. Prinz An analysis of lathe development using artificial intelligence techniques History and Technology: An International Journal
1988
5 1 1-29 The authors show how the lathe's historical development can be represented and analyzed by employing the techniques developed in artificial intelligence programming, especially in the realm of expert systems. The article discusses the lathe's history over 22 centuries, and then how the expert systems approach can be used as a model to study this historical change. artificial intelligence and biotechnology expert systems model lathe artificial intelligence, and lathe experts Danko, George M. and Friedrich B. Prinz An analysis of lathe development using artificial intelligence techniques 11610 Darnton, Robert The Forbidden Bestsellers of Pre-Revolutionary France New York W. W. Norton and Company
1995
Robert Darnton argues that to understand the attitudes that lead to the French revolution, we must not just look at canonical philosophical works (like those written by Rousseau), but we must also examine the bestsellers that were banned by the government, the books that the public was actually reading. By examining three banned best-sellers in depth -- Therese philosophie, L’An 2440, and Anecdotes sur Mme la comtesse du Barry -- he is able to detail the purposes each served the general public. Therese could also be read as a contraception manual and a book that promoted masturbation at a time when it was thought to cause disease. L’An 2440 provided an indictment of the condition of eighteenth-century France through a futuristic story set in 2440. It focused on the power of books and the printed word. Anecdotes fed the public’s appetite for gossip; it was a “true” story of Louis XV’s mistress and her ability to arouse the impotent king. Anecdotes was similar to the National Enquirer of today, providing scandalous stories about actresses and political luminaries that people eagerly devour.
Although the banned bestsellers were powerful, they did not cause the revolution, Darnton argues. They were part of a larger movement; they caused the general public to lose faith in the monarchy, by portraying Louis XV and XVI as buffoons, and the government as corrupt. Ultimately, it is difficult for us to understand the power books had in the 1700s, Darnton says, because we have television, movies, and radio -- media that did not exist during the French revolution.
Darnton, who is a student of both the French Revolution and also the history of the book, examines here a genre of book that provides insight into French cultural history prior to the Revolution. He also looks at the book during this period as a communication system. The producing, distributing, and consuming books can be viewed as a "communications circuit which runs from author to reader -- and ultimately back to the author again."
-Hallie Lieberman sexuality law censorship and ratings non-USA pornography books, periodicals, newspapers censorship France censorship, France French Revolution pornography pornography, and France France, and pornography non-USA, and France sexuality, and France values values, and sexuality Lieberman, Hallie Darnton, Robert The Forbidden Bestsellers of Pre-Revolutionary France 24290 Dart, John Age Old Problem: Portrayals of Christ Tempt Controversy Los Angeles Times
July 30, 1988
1 1 This article surveys the ways in which motion pictures and television programs have portrayed Jesus. It came as a controversy arose over the movie The Last Temptation of Christ (1988). Dart notes that religious critics denounced movies during the 1970s -- The Passover Plot (1976), Franco Zefferelli's television mini-series, Jesus of Nazareth (1977), and Monty Python's Life of Brian (1979). The article discusses Nikos Kazantzakis' (1883-1957) novel, The Last Temptation of Christ. values motion pictures Hollywood values motion pictures and popular culture television television and religion religion, and television motion pictures, and religion religion, and motion pictures Hollywood, and religion Jesus, and Hollywood images critics values religion Dart, John Age Old Problem: Portrayals of Christ Tempt Controversy 24530 Dart, John Church Declares 'Last Temptation' Morally Offensive Los Angeles Times
Aug. 10, 1988
2 (Metro) 3 This article reports that the Catholic bishops' Department of Communication in New York had rated Martin Scorcese's movie The Last Temptation of Christ (1988) "morally offensive." This rating "couched in relatively mild criticism," went to 53,000,000 Catholics. corporations corporations values Christianity Universal Pictures Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation critics values Dart, John Church Declares 'Last Temptation' Morally Offensive 28590 Dart, John Church Likely to Condemn 'Temptation,' Mahony Says Los Angeles Times
July 20, 1988
2 (Metro) 3 This article reports that Los Angeles Archbishop Roger M. Mahony says that the Roman Catholic Church is likely to declare Martin Scorcese's movie The Last Temptation of Christ (1988) to be "morally offensive." corporations corporations values Christianity Universal Pictures Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation critics values Mahony, Roger Dart, John Church Likely to Condemn 'Temptation,' Mahony Says 24370 Dart, John Evangelist Offers to Buy All Copies of Christ Movie Los Angeles Times
July 16, 1988
2 (Metro) 3 This article is about evangelist Bill Bright's offer to Lew Wasserman of Universal Pictures to buy all copies of the movie The Last Temptation of Christ (1988). values Christianity Wasserman, Lew Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion Bright, Bill, and Last Temptation censorship, and Last Temptation Wasserman, Lew, and Bill Bright Bright, Bill Dart, John Evangelist Offers to Buy All Copies of Christ Movie 24350 Dart, John "Last Temptation" Views Still Coming In; Boycott of "E.T." Among Religious Reactions to Controversial Movie Los Angeles Times
Aug. 27, 1988
2 (Metro) 6 In reaction to Universal Pictures' controversial movie The Last Temptation of Christ (1988), fundamentalists and other religious critics urged a boycott of the video release of the popular Universal movie E. T. (1982). corporations corporations values Christianity Protestants values motion pictures Hollywood values religion Catholic Church boycotts Scorsese, Martin motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and E.T. critics values critics Universal Pictures Dart, John "Last Temptation" Views Still Coming In; Boycott of "E.T." Among Religious Reactions to Controversial Movie 24320 Dart, John Some Clerics See No Evil in "Temptation" Los Angeles Times
July 14, 1988
6 (Calendar) 1 This article is about religious leaders such as Daniel Berrigan, Robert E. A. Lee (a former movie review for Lutheran magazine), and others who saw little or knowing that was morally offensive in the film The Last Temptation of Christ (1988). values Christianity Protestants values motion pictures Hollywood values religion Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion critics values Dart, John Some Clerics See No Evil in "Temptation" 28550 Dart, John 'Temptation' May Lead to Examination and Renewal of Faith Los Angeles Times
Aug. 13, 1988
2 (Metro) 6 Los Angeles Times religion writer John Dart says that "despite the vociferous religious opposition to The Last Temptation of Christ, the film that was released Friday, many churches may use the occasion to examine anew and proclaim their beliefs about Jesus -- especially the doctrine that he was truly tempted yet sinless." The article goes on to discuss possible misrepresentations of the movie's final scenes. Motion Picture Association of America (MPAA) motion pictures, and religion Classification and Rating Administration classification MPAA self-regulation corporations motion pictures, and sexuality sexuality motion pictures, and sexuality corporations CARA Classification and Rating Administration (CARA) advertising, and public relations universities censorship and ratings rating system (U.S.) rating system (U. S.) propaganda advertising values sexuality motion pictures First Amendment freedom values religion law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA boycotts motion pictures and popular culture motion pictures, and religion religion religion, and motion pictures movies, and religion nudity motion pictures, and nudity motion pictures, and nudity CARA, and religion CARA, and nudity Kazantzakis, Nikos Schrader, Paul Cocks, Jay Universal Pictures Wasserman, Lew universities, and religion motion pictures, and boycotts CARA, and rating controversies rating system (U. S.), and controversies Wall, James Robertson, Pat Dobson, James First Amendment, and motion pictures motion pictures, and First Amendment public relations, and motion pictures motion pictures, and public relations public relations Valenti, Jack Valenti, Jack, and religion Valenti, Jack, and First Amendment First Amendment, and Jack Valenti Heffner, Richard, and religion censorship censorship, and motion pictures motion pictures, and censorship motion pictures, and boycotts boycotts, and motion pictures Bright, Bill Campus Crusade for Christ Scorsese, Martin Blockbuster Video Valenti, Jack, and censorship nudity, and religion religion, and nudity Dafoe, Willem Hershey, Barbara Bowie, David Southern Baptist Christian Life Commission critics values Heffner, Richard Dart, John 'Temptation' May Lead to Examination and Renewal of Faith 24470 Dart, John 'Temptation, with a New Cover, Due at Bookstores, Publisher Says Los Angeles Times
Aug. 19, 1988
6 (Calendar) 6 This article is about a new edition of Nikos Kazantzakis's 1960 novel The Last Temptation of Christ. The novel was the basis for the 1988 film by Martin Scorcese. corporations corporations advertising, and public relations Universal Pictures propaganda public relations propaganda advertising novels motion pictures boycotts motion pictures and popular culture boycotts, and Last Temptation Last Temptation of Christ (1988) public relations Universal Pictures, and advertising Universal Pictures, and public relations public relations, and Last Temptation advertising advertising, and Last Temptation Universal Pictures, and Touchstone Books Kazantzakis, Nikos novels, and motion pictures religion values Dart, John 'Temptation, with a New Cover, Due at Bookstores, Publisher Says 24500 Dart, John Russell Chandler Full Theaters, Protests Greet "Temptation" Los Angeles Times
Aug. 13, 1988
1 1ff This article notes that despite peaceful protests and efforts to boycott the movie The Last Temptation of Christ (1988) (or perhaps because of them), the movie played to generally large in the cities where it opened. corporations corporations values Christianity advertising, and public relations Universal Pictures propaganda advertising Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill public relations, and Last Temptation public relations Last Temptation, and marketing strategies Last Temptation, and public relations Russell Chandler Full Theaters, Protests Greet "Temptation" 41020 Daugherty, Frank Chromos in Hollywood New York Times
Sept. 19, 1937
179 This article talks about using mass-produced color still photographs to publicize movies and their stars that appear in Technicolor films. It says that "Perhaps a dozen newspapers throughout the country are equipped to reproduce colored photographs in their daily editions, but a great many more use colored rotogravure on Sunday. There are also innumerable fan, fiction and photographic magazines, and a few dealing with the stage and motion pictures as graphic arts, which no doubt will welcome the revolution" that the photographers who make these stills are bringing about. rotogravure journalism celebrity photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color newspapers, and color photos motion pictures, and newspapers newspapers, and motion pictures celebrity culture celebrity culture, and color photos celebrity culture, and newspapers newspapers, and celebrity culture color, and motion pictures motion pictures, and color color color, and movie stars Technicolor Technicolor, and newspapers newspapers, and Technicolor movies magazines, and photography magazines photography, and magazines magazines, and photography color, and fan magazines fan magazines, and color photos advertising fan magazines history motion pictures Daugherty, Frank Chromos in Hollywood 26230 Davenport, Gorianna Your Own Virtual Storyworld: True interactive entertaiment will arise once engineers and artists create virtual realities that can unfold improvisationally Scientific American
Nov. 2000
283 5 79-82 This work discusses the possibilities presented by digital cinema and computers. As movie makers gain the ability to improvise virtual reality, entertainment will become much more interactive. entertainment computers entertainment, home photography projection motion pictures home entertainment Hollywood digital media digital cinema digital movies digital cinema computers 35mm home, and new media home motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies photography and visual communication photography, and digital movies digital technology digial movies, how they work 35mm film 35mm film, and digital movies digital movies, and 35mm film projectors, digital projectors, digital movie computers and the Internet computers, and digital movies digital movies, and computers virtual reality virtual reality, and digital movies digital movies, and virtual reality Hollywood, and digital movies digital movies, and Hollywood media convergence Hollywood, and media convergence media convergence, and digitial movies digitization Davenport, Gorianna Your Own Virtual Storyworld: True interactive entertaiment will arise once engineers and artists create virtual realities that can unfold improvisationally 1670 David W. Kiehl A Catalogue of American Art Posters of the 1890s in the Metropolitan Museum of Art American Art Posters of the 1890s New York Metropolitan Museum of Art; Distributed by Harry N. Abrams, Inc.
1987
97-193 photography posters photography and visual communication bibliographies posters, and United States (1890s) museums color, and posters (1890s) color color, and posters David W. Kiehl A Catalogue of American Art Posters of the 1890s in the Metropolitan Museum of Art 33020 Davidson, Randall 9XM Talking: WHA Radio and the Wisconsin Idea Madison, WI University of Wisconsin Press
2006
Randall Davidson traces the history of Wisconsin Public Radio from 1909 to 1979. The network has its origins in a license for the experimental radio broadcaster 9XM that was granted to a professor in the University of Wisconsin-Madison’s electrical engineering department, Edward Bennett, in 1914. This frequency was later “borrowed” by a professor in the physics department, Earle M. Terry, for experiments with “wireless telegraphy” (p. 8). Terry would lead the station throughout its early years as it continued to be housed within the physics department.
Davidson focuses on the individuals that were influential in the development of the station in the early and mid-1900s, as well as the development and expansion of its programming. Early broadcasts of 9XM included weather reports aimed helping rural farmers plan their crop production. In 1922, the station switched to the call letters WHA.
Early radio started as a wireless method to transmit telegraph messages. There was increasing interest in wireless transmission after the sinking of the Titanic. The first radio broadcasters, such as 9XM at the University of Wisconsin, started out sending “point-to-point” telegraphic messages to experiment with the technology. These transmissions could then be overheard by anyone between the two points who had a radio receiver. This eventually developed into the idea of using the technology to broadcast to the general public.
The station’s educational focus included extension and outreach to the state’s rural residents with the notion of making the university accessible to listeners across the state through the “Wisconsin Idea.”
Notably Davidson debunks the myth that 9XM/WHA is the “oldest” radio broadcaster in the United States and concludes that WHA is in fact the second “oldest” station in the United States. However he does find that it is the oldest educational radio station in the country.
--Jill Hopke wireless communication Hopke, Jill radio radio, and WHA radio, public radio, and Wisconsin Public Radio public radio, and origins education radio, and education education, and radio democracy democracy, and radio radio, and democracy radio, and wireless wireless, and Titanic wireless Davidson, Randall 9XM Talking: WHA Radio and the Wisconsin Idea 2980 Davies, Duncan S. The Computer Revolution, Industry and People Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
334-44 See also: office Davies, at the time of this piece, was Chief Scientist and Engineer at the Department of Industry, London. He raises questions about the impact of the microprocessor on employment. This piece originally appeared in Chartered Mechanical Engineer (June 1978). computers communication revolution second industrial revolution communication revolution computers non-USA microelectronics information technology computers and the Internet artificial intelligence and biotechnology automation information technology, and industry microelectronics revolution microelectronics revolution, and unemployment labor Great Britain computers, and unemployment labor labor, and computers Davies, Duncan S. The Computer Revolution, Industry and People 1230 Davies, K. A. Voluntary Exposure to Pornography and Men's Attitudes Toward Feminism and Rape Journal of Sex Research
1997
34 131-37 See also: violence See also: sexuality This study examined the relationship between X-rated video rentals and attitudes toward feminism and violence toward women. The author gathered data from “194 men who rented X-rated videos of their choosing from a single pornography establishment in a large metropolitan county during 1988” (131). The renters attitudes were assessed by asking whether or not they supported the Equal Rights Amendment, whether they supported a law against marital rape, and length of sentence for both marital and date rape. Davies found no relationship between any of the dependent measures and number of videos rented. This study used non-experimental methods due to some of the criticisms leveled at experimental research, particularly pornography research (see Childress, 1991). A strength of this research, then, is that it introduces a new and useful method for examining the relationship between pornography use and attitudes and behaviors. A caveat, however, is that other media are not considered in the analysis/
--Michael Boyle computers video cassette recorders (VCRs) magnetic recording women, and new media social science research sexuality motion pictures media effects media violence violence Internet magnetic tape women feminism computers Boyle, Michael pornography media effects pornography, and rape myths violence, and pornography pornography, and violence women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects media effects, and violence media effects, and motion pictures violence, and computers computers and the Internet pornography, and computers computers, and pornography Internet, and pornography pornography, and Internet VCRs pornography, and VCRs VCRs, and pornography feminism, and pornography pornography, and feminism Davies, K. A. Voluntary Exposure to Pornography and Men's Attitudes Toward Feminism and Rape 29260 Davies, Lawrence E. Reagan Promises to Rid Campuses of 'Anarchists' New York Times
Jan. 8, 1969
36 In addition to Reagan's comments about keeping classes open on California campuses, Governor Reagan asked the state legislator for a "drive against pornogrpahy and narcotics." Reagan, Ronald pornography sexuality Reagan, Ronald, and pornogrphy Reagan, Ronald, and student activists Reagan, Ronald, and drug abuse Davies, Lawrence E. Reagan Promises to Rid Campuses of 'Anarchists' 36570 Davis, Bette Lonely Life: An Autobiography New York Putnam
[1962]
In this autobiography, Bette Davis discusses her film career and such movies as Beyond the Forest, a film based on a 1948, that dealt with abortion, a topic then forbidden under the motion picture Production Code. motion pictures censorship and ratings motion pictures, and abortion Davis, Bette Warner Bros. Davis, Bette Lonely Life: An Autobiography 2300 Davis, Charles Thomas The Manufacture of Paper: Being a Description of the Various Processes for the Fabrication, Coloring, and Finishing of Every Kind of Paper.... Philadelphia; New York Henry Carey Baird & Co.; Arno Press
1886; 1972
This 1886 history of paper was reprinted in Arno Press’s Technology and Society series. This work is informative on the technology and processes of nineteenth-century paper making. materials paper paper, history of materials paper, and wood pulp paper, and rags paper, and patents paper, and cellulose cellulose, and paper Davis, Charles Thomas The Manufacture of Paper: Being a Description of the Various Processes for the Fabrication, Coloring, and Finishing of Every Kind of Paper.... 12200 Davis, Henry B. O. Electrical and Electronic Technologies: A Chronology of Events and Inventors from 1900 to 1940 Metuchen, N. J. and London Scarecrow Press, Inc.
1983
This 168-page work continues the earlier Electrical and Electronic Technologies which covered events up to 1900. This work deals with the first four decades of the twentieth century. Each chapter treats a decade and within each chapter there are brief descriptions by year of major inventors and innovations. Two appendices follow. One is an “Index to Vacuum Tubes”; the other is an “Index to Radio Stations.” U. S. Navy R & D computers tape recording, magnetic corporations corporations corporations corporations corporations corporations FM radio Federal Communications Commission (FCC) cathode rays magnetic recording photography time and timekeeping References, Statistics, Timelines, Maps References, Statistics, Timelines, Maps shortwave radio networks research and development war lighting inventions innovation government materials materials magnetic tape General Electric Company Company regulation electronic media timekeeping, and clocks war non-USA Chronologies timelines inventors aeronautics and space communication microphones radar radio radio, amateur Alexanderson, Ernst F. W. alternators American Radio Relay League AT&T amplifiers radio, FM frequency modulation (FM radio) Armstrong, Edwin vacuum tubes Baird, John Logie batteries Bell Laboratories broadcasting, foreign broadcasting, chain cable cable, coaxial cable, submarine telegraph telephones cable, telegraph telegraph, cable cathode ray tubes circuits television television, and color communication links headphones computers conferences De Forest, Lee crystals Edison, Thomas electricity timekeeping, electric clocks typewriters, and electric motors electric motors motors, electric facsimile duplicating technologies sound recording FCC Farnsworth, Philo T. Fessenden, Reginald General Electric Company lighting, electric electric lighting iconoscope instrumentation lamps, incandescent Marconi, Guglielmo NBC military communication oscillators patents photography and visual communication photography, photo transmission photo transmission video phones telephones, and video phones RCA transportation transportation, and electrification railroads railroads, and electrification networks, electrical receivers tape recording sound recording, and magnetic tape sound recording, and wire remote control scanning Sarnoff, David radio, shortwave shortwave radio magnetic tape recording public address systems microwaves television, and origins transmitters tubes U. S. Navy, and communication communication, and U.S. Navy Western Electric Company wireless communication wireless installations X-rays Zworykin, Vladimir reference works electronics broadcasting timekeeping timekeeping, and clocks computers and the Internet materials typewriters censorship and ratings Davis, Henry B. O. Electrical and Electronic Technologies: A Chronology of Events and Inventors from 1900 to 1940 900 Davis, Melton S. Public Opinion -- the Court of Last Resort Labor and Nation
Jan. - Feb. 1947
3 1 24-27 See also: office Davis outlines a 10-point program to help organized labor modernize its public relations efforts to manage its public image. Among the recommendations: Create a national strategy board to coordinate labor public relations and create a unified voice; provide more training for union leaders in modern methods of public relations; make use of sociologists on union research staffs to develop better appeals to laborers; improve polling methods to ensure more representation of the rank and file; create labor-oriented metropolitan newspapers and modernize the weekly and monthly labor press.
--Phil Glende advertising, and public relations propaganda advertising news and journalism Glende, Phil labor public relations newspapers, and labor labor, and newspapers public relations, and labor labor, and public relations newspapers, and public relations newspapers news Davis, Melton S. Public Opinion -- the Court of Last Resort 29620 [Davis, Robert C. Jack M. McLeod and James W. Swinehart Satellites, Science, and the Public: A Report of a National Survey on the Public Impact of Early Satellite Launchings ... for the National Association of Science Writers and New York University Ann Arbor, MI Survey Research Center, Institute for Social Research, University of Michigan
1959
See filed under ("McLeod, Jack"). This 57-page study compares public attitudes about satellites shortly before the launching of Sputnik by the Soviet Union on October, 4, 1957, and then after that event. Before Sputnik, more than half (54 percent) of the American public had never heard of satellites. After October, 1957, about 91 percent of the public was aware of them. “Most of this awareness was gained during the few weeks following the launching of Sputnik I….” (p. 1) The study notes that “much of the post-Sputnik satellite news emphasis was shifted towards the political ‘cold war’ and the military arms race with Russia.” The researchers also observe that a “new type of response began to appear in the post-Sputnik survey. Purposes which were not the immediate aims of the satellite scientists, but which do constitute possible outcomes of the space age, were classified under the category of ‘future possibilities.’ The scientific sophistication of response of this type varied considerably, however all ignored the current information-gathering function of the satellites. Almost one person in five was placed in this category.” (p. 4) This study attempts to gauge the extent to which people depended on different media newspapers, magazines, radio, television for news about satellites and their purposes. The study shows some decline in the use of newspaper and magazines for science news after Sputnik and slight increases in dependence on radio and television. (Table 11, p. 16) It indicates that which there was a slight increase in science news readership, this category of readership did not grow significantly in comparison with readership for other parts of the news (e.g., sports, society, national politics, etc.). This work indicates that while in November, 1957, about 25 percent of the American public considered Russian science superior to American science, by May, 1958 (after the U.S. had launched its first satellite), only about 8 percent of the American public considered Russian science superior. (p. 38) A majority of people surveyed gave “no clear edge to either America or Russia in the science race.” (p. 50) USSR aeronautics and space communication television radio books, periodicals, newspapers satellites science, and American public Soviet Union Sputnik Soviet Union, and science Soviet Union, and Sputnik Cold War Cold War, and satellites news and journalism journalism, and science news McLeod, Jack journalism science war [Davis, Robert C. Jack M. McLeod and James W. Swinehart Satellites, Science, and the Public: A Report of a National Survey on the Public Impact of Early Satellite Launchings ... for the National Association of Science Writers and New York University 2650 Davis, Robert Edward Response to Innovation: A Study of Popular Argument About New Mass Media New York Arno Press
(1965), 1976
This 1965 University of Iowa Ph. D. thesis (Department of Speech and Dramatic Art) is here republished by Arno Press. The author is interested in people "suspicious of ... new influences" who "predicted that the mass media would damage culture, subvert values, and overturn respected institutions. Innovation, they said, would cause the evils society most feared. The effects of motion pictures, radio, and television, both real and predicted, have been the cause for lively and persistent controversy for some six decades." technology television, and values values motion pictures critics values technology and society values, and new media motion pictures and popular culture television radio values, and motion pictures values, and radio values, and television Davis, Robert Edward Response to Innovation: A Study of Popular Argument About New Mass Media 6670 Davis, Watson The New Radio Movies Popular Radio
Dec. 1923
4 436 television, and history of radio seeing at a distance motion pictures television television, and origins? Davis, Watson The New Radio Movies 6680 Davis, Watson Seeing by Radio Popular Radio
April 1923
3 266 television, and history of television television, and origins seeing at a distance radio Davis, Watson Seeing by Radio 34270 Dawson, Ashley Documenting Democratization: New Media Practices in Post-Apartheid South Africa Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
225-44 The author writes that "during the transition to democracy after 1990, South Africa faced the pressing question of how to transform" te South African Broadcasting Corpration, "this organ of racist ideology into a forum for the advancement of national unity and equality." (225)
The volume in which Dawson's chapter appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality nationalism Internet global communication community news and journalism non-USA nationalism and communication democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors capitalism capitalism, and digital media digital media, and capitalism Internet, and capitalism capitalism, and Internet globalization South Africa race, and South Africa South Africa, and race news and journalism censorship and ratings news, and censorship news, and South Africa South Africa, and news freedom nationalism and communication nationalism, and South Africa news race Dawson, Ashley Documenting Democratization: New Media Practices in Post-Apartheid South Africa 41870 Day, David T. Light: The Civilizer American Illustrated Magazine
April 1906
61 6 654-64 This article, written by a leading geologist in 1906, says that "the Invention of Bright, Steady Light has revolutionized history” and had been a great “civilizer.” (654) "For with the advent of a bright light, for the first time in history people began to read at night.... The bright light made reading a universal habit." (656) Day discusses various types of light made possible by oil and kerosene, gas, and electricity. reading electricity electricity, and lighting lighting, and electricity lighting, and arc lights lighting, and gas lighting, and oil lighting, and kerosene electricity, and arc lights electricity, and spectacle color color, and electricity electricity, and color non-USA Russia Great Britain electricity, and Russia Russia, and electricity Russia, and lighting Great Britain, and electricity electricity, and Great Britain Great Britain, and lighting electricity, and reading reading, and electricity reading, and lighting lighting, and reading electricity, and civilization civilization, and electricity lighting, and civilization civilization, and lighting lighting Day, David T. Light: The Civilizer 360 Day, Lance Language, Writing, Printing and Graphic Arts An Encyclopaedia of the History of Technology London and New York Routledge
1990
665-85 McNeil, Ian An introduction to this area. Ian McNeil is the Encyclpaedia's editor. print non-USA general studies printing writing language visual communication Day, Lance Language, Writing, Printing and Graphic Arts 12210 Day, Lance and Ian McNeil Biographical Dictionary of the History of Technology London and New York Routledge Reference
1996
This 844-page biographical dictionary contains almost 1,300 names. The overwhelming majority are white, European and North American males. An effort was made to include important Asian, African Americans, and women. The work has three indexes -- by subject area, by topic, and by name. Entries usually have brief suggestions for further reading. R & D computers post office Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories Asia photography time and timekeeping References, Statistics, Timelines, Maps print fiber optics research and development war materials materials fiber optics electronic media timekeeping, and clocks war non-USA Biography biographical dictionaries biography, dictionaries reference works aeronautics and space communication transportation automobiles broadcasting engineering, civil electricity canals information technology electronics engineering paper printing motion pictures photography and visual communication photography optical fibers railroads public utilities sound recording engines, steam engines, combustion telecommunications military communication timekeeping clocks timekeeping, and clocks China celluloid computers computers and the Internet electronics engines photography, lenses postal service mail, air photolithography satellites telegraph telephones television typesetting Linotype timekeeping, and watches X-rays military communication airmail Day, Lance and Ian McNeil Biographical Dictionary of the History of Technology 6690 Dayan, Daniel and Elihu Katz Media Events: The Live Broadcasting of History Cambridge, MA Harvard University Press
1992
The authors write that this "book is about the festive viewing of television. It is about those historic occasions–mostly occasions of state–that are televised as they take place and transfix a nation or the world. They include epic contests of politics and sports, charismatic missions, and the rites of passage of the great–what we call Contests, Conquests, and Coronations. In spite of the differences among them, events such as the Olympic Games, Anwar el-Sadat’s journey to Jerusalem, and the funeral of John F. Kennedy have given shape to a new narrative genre that employs the unique potential of the electronic media to command attention universally and simultaneously in order to tell a primordial story about current affairs. These are events that hang a halo over the television set and transform the viewing experience.
We call them collectively ‘media events,’ a term we wish to redeem from its pejorative connotations. Alternatively, we might have ‘television ceremonies,’ or ‘festive television,’ or even ‘cultural performances’.... These telecasts share a large number of common attributes which we shall attempt to identify. Audiences recognize them as an invitation–even a command–to stop their daily routines and join in a holiday experience. If festive viewing is to ordinary viewing what holidays are to the everyday, these events are the high holidays of mass communication. Conceptually speaking, this book is an attempt to bring the anthropology of ceremony ... to bear on the process of mass communication.” nationalism preservation history, and new media community democracy civil liberties freedom values history television values and society civil religion, and television history, and television nationalism and communication democracy and media television, and democracy nationalism, and television television, and nationalism nationalism, and civil religion television, and civil religion Dayan, Daniel and Elihu Katz Media Events: The Live Broadcasting of History 40830 De Angelis, Gina Motion Pictures: Making Cinema Magic Minneapolis Oliver Press, Inc.
2004
The text of this brief book runs 129 pages. There are not notes but there are sidebars, a Glossary, short bibliography, and an Index. The work is broken into seven chapters, each devoted to a leading innovator in the field of motion pictures: W. K. L. Dickson and the Kinetograph; Auguste and Louis Lumiere; Lee de Forest and Optical Sound; Herbert Kalmus and Technicolor; Linwood Dunn and the Optical Printer; Mike Tode and Todd-AO; and Garret Brown and the Steadicam. The chapter on Klamus (63-75) notes that "Although almost every color movie made between 1925 and 1950 used Technicolor, these were only 12 percent of the total number of Hollywood films made during that time. Even into the 1960s, at least half of all movies were still short in black and white. Hollywood did not convert entirely to color until the advent of color television made it a competitive necessity. By 1970, 94 percent of American feature films were made in color, and today [2004] it costs more to film in black and white than it does to use color." (75) Lumiére, Louis color motion pictures motion pictures, and color color, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures Kalmus, Herbert color, and Herbert Kalmus de Forest, Lee Dunn, Linwood Garrett Brown Lumiere, Auguste Lumiére, Louis Dickson, W. K. L. cameras cameras, and portable cameras, and steadicam kinetograph kinetoscope Technicolor color, and Technicolor Kalmus, Herbert, and Technicolor Technicolor, and Herbert Kalmus motion pictures, and number of color movies De Angelis, Gina Motion Pictures: Making Cinema Magic 370 De Forest, Lee Our Changing Communications New Frontiers of Knowledge: A Symposium by Distinguished Writers, Notable Scholars & Public Figures Washington, D.C. Public Affairs Press
1957
113-15 De Forest, who invented the vacuum tube, here observes that some have compared the electron tube’s impact on civilization to that of the discovery of the wheel and early use of fire. While De Forest does not go that far, he does say that “the 3-electrode tube and its descendants have made possible in spreading over the entire face of the globe an invisible network of international, inter-continental, telephonic communication, whereby the ancient barriers of unlike languages no longer persist. Coupled with this all important development comes now radio’s sister development, television, linking distant sight with the voice.”
Interestingly, De Forest notes that 1957 may be the year that the first man-made satellite will be put into orbit. However, he says, “to place a man in a multi-stage rocket and project him into the controlling gravitational field of the moon, where the passenger can make scientific observation, perhaps land alive, and then return to earth -- all that constitutes a wild dream worthy of Jules Verne.” Only a dozen years later, of course, that became a reality. materials materials future and science fiction non-USA space communication general studies vacuum tubes telephones global communication radio television space travel rocketry future aeronautics and space communication vacuum tubes, and 3-electrode tube television, and vacuum tubes De Forest, Lee Our Changing Communications 10690 De Forest, Lee Television: Today and Tomorrow New York Dial
1942
materials materials television vacuum tubes television, and history of television, and origins television, and vacuum tubes De Forest, Lee Television: Today and Tomorrow 16660 De Grazia, Edward Girls Lean Back Everywhere: The Law of Obscenity and the Assault on Genius New York Random House
c1992
The author writes: "In historical perspective, it can be remarked that under Justice Brennan's leadership the Supreme Court interpreted the First Amendment's guarantees of speech and press in ways that permitted authors and artists, their publishers and promoters, to communicate on the subjects of sex, religion, politics, and anything else in almost limitless ways -- much as the Court (equally controversially, and again following Brennan's lead) privileged this xiii/xiv country's newspaper press. Here admittedly is a degree of freedom or license that many people prefer to deny themselves and others. The liberty asserted by American artists and writers is nothing less than the right to upset the basic assumptions upon which our family, social, political, religious, and cultural life is based." (xiii-xiv) U. S. Supreme Court self-regulation Production Code Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) sexuality pornography values values religion law censorship and ratings censorship obscenity censorship, and obscenity obscenity, and censorship pornography, and obscenity Supreme Court (U. S.), and obscenity obscenity, and Production Code, and decline of censorship, and literature censorship, and Random House censorship, and Ulysses motion pictures and popular culture motion pictures motion pictures, and censorship censorship, and motion pictures, De Grazia, Edward Girls Lean Back Everywhere: The Law of Obscenity and the Assault on Genius 12780 De Grazia, Edward// Roger K. Newman Banned Films: Movies, Censors and the First Amendment New York R. R. Bowker Company
1982
This book is divided into two parts. The first discusses motion picture censorship and legal/constitutional developments that led to the breakdown of regulation and protection under the First Amendment. The second part then discusses specific films that were important in censorship battles. This solid, informative book is an excellent reference for those interested in learning about benchmark cases in motion picture censorship. The individual cases involving specific films are discussed in some detail.
--SV

Motion picture, no less than literature and art, are means for the circulation of ideas and for the carrying out of the nation’s dialogue. And yet, the authors observe, the movies were censored by police, prosecutors, customs officials, and all sorts of city, state boards and federal censors; by mayors, governors, fire, safety and health commissioners, educators and librarians as well. For much of the twentieth century – certainly during the first two-thirds of it – “people were prevented from seeing on the movie screen what was happening around them, unless the censors considered it safe. The censorship interfered with the communication of political as well as sexual information and ideas. Movie critical of the courts or the police were frequently condemned.” (xvi) In this book, the author use “censorship” to mean “ any government or industry practice that has interfered with or changed the content of the movies as determined by its creators – from criminal prosecutions and governmental censor boards to private industry self-regulation, including war-time “voluntary cooperation” with the military.” (xvii-xviii)
--Amy Chu U. S. Supreme Court self-regulation Roth case (1957) Production Code Burstyn v. Wilson Burstyn, Joseph Miller v. California values Supreme Court (U. S.) religion Production Code (motion pictures) First Amendment freedom law censorship and ratings censorship motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures, and Supreme Court (U. S.) Mutual case (1915) Miracle case Roth v. U. S. (1957) Miller case motion pictures, and critics law, and motion pictures motion pictures, and law motion pictures, and freedom motion pictures, and morality motion pictures, and First Amendment First Amendment, and motion pictures Production Code (motion pictures) Production Code, and decline of Chu, Amy De Grazia, Edward// Roger K. Newman Banned Films: Movies, Censors and the First Amendment 6190 De Lauretis, Teresa and Stephen Heath eds. The Cinema Apparatus New York St. Martin’s Press
1980
These essays came from a conference on ‘The Cinematic Apparatus’ held in February, 1978, by the Center for Twentieth Century Studies of the University of Wisconsin-Milwaukee. The conference coordinating committee included David Bordwell, Kristin Thompson, and Douglas Gomery.
The essays in this volume are of mixed value. Among the best chapters of a historical nature are those by Peter Wollen (“Cinema and Technology: A Historical Overview”); Dudley Andrew (“The Post-War Struggle for color” [in France]); and Kristin Thompson (“Implications of the Cel Animation Technique”). Many other papers are more theoretical than historical. seeing at a distance postmodernism modernism new way of seeing motion pictures motion pictures new way of seeing, and motion pictures motion pictures, and technology color color, and France cartoons motion pictures, and cartoons cartoons, and technology of De Lauretis, Teresa and Stephen Heath eds. The Cinema Apparatus 38730 de Navarro, Mary Anderson My Early Days on the Stage Ladies' Home Journal
Jan. 1896
13 2 1-2 Mary Anderson de Navarro here paints a bleak picture of what it takes to be successful on the stage. Of her early performances, she says that "All I had gained by a week of hard work was a sad heart and a very sore throat." (1) She ends by saying: "Indeed, I would not wish 'my dearest enemy' to pass through the uncertainties and despondencies of those early days." (2) theater stage journalism fame celebrity critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater celebrity culture theater and stage motion pictures, and stage stage, and motion pictures celebrity, and actors actors, and celebrity fame, and actors actors, and fame actors acting actors, and fame before movies actors, and status of news and journalism actors, and journalists journalism, and actors personality actors, and personality personality, and actors women women, and acting acting, and women de Navarro, Mary Anderson My Early Days on the Stage 37990 De Vinne, Theodore L. Perfecting the Press Current Literature
May 1901
30 5 533-35 This article surveys improvements in printing methods. It discusses the work of Earl Stanope, the Konig press, the Bullock press, and the rapid printing machinery made possible by the "cylindrical inking rollers made of glue and molasses." The improvements in printing technology would have been relatively insignificant, though, had not cheap paper become available. The author notes that by 1880, photoengraving was replacing woodcuts for illustrations in books and magazines. wood engraving journalism magazines, and photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving journalism, and presses newspapers, and presses stereotyping presses presses, and Konig presses, and Bullock books, periodicals, newspapers newspapers, and woodcuts materials materials, and paper newspapers, and paper magazines photography De Vinne, Theodore L. Perfecting the Press 41790 De Vinne, Theodore L. The Printing of 'The Century' Century Illustrated Magazine
Nov. 1890
41 1 87-99 This excellent article explains how the printing process worked at The Century in 1890. The magazine became one of the leading illustrated periodicals during the 1890s. When the magazine's large presses were at work, the author says, "the air trembles with their busy hum." (96)
De Vinne discusses the improvements in the printing of the magazine that occurred between 1870 and 1890. He notes that before 1890, cylinder presses were considered to be "type smashers" and likely to damage fine engraving. (87) The "stop-cylinder printing machine" (87) was a major improvement. It "did better presswork, but at slower speed and at greater cost, yet its capacities were often seriously overtaxed by the close and shallow engraving furnished by engravers who were striving to reproduce with picks or lines the effective tints of designs made entirely with the brush." (88) The stop cylinder machine used to print find woodcut illustrations was smaller and slower that the magazine's web presses. It printed "sixteen pages only on one side of a sheet at a rate of about 750 impressions an hour. One machine can produce in one month but a small portion of the illustrations required for the magazine. It follows that there are many of these stop-cylinders, and that the printing plates [electrotype plates] are made in duplicate and sometimes in triplicate, and, to get out the edition on time, that these duplicates go to press on different machines." (94)
Among the challenges to producing higher quality illustration were the need for better ink and inking systems (87) and the uneven surface of the paper on which the illustrations were printed. De Vinne describes a process for smoothing paper, which was probably not noticed by most people, but which was critical to reproducing quality illustrations. (88)
De Vinne describes the type-setting process. "Printing begins with type-setting, which is done now as it was four hundred years ago. Every letter must be picked up by hand and adjusted by human fingers to its fellows." (88) Even though type-setting machines were being used more and more, "they have not curtailed the employment of the four thousand compositors who set type by hand in this city [New York]. Type-setting by hand is slow work. A quick workman can set five columns of The Century in a day of ten hours; but the performance of the average compositor does not exceed, hardly reaches, two pages a day." (88) The composition work is usually done by young women who "are paid the same rates as men." (88)
De Vinne says that the woodcut illustrations are considered to be "the jewels of the magazine." (89) The magazine used electrotype plates and the process of creating these plates is explained (90-91). The electroplate used for both the printed page and illustrations is much cheaper than earlier methods of printing. "Unlike the type, or the frail woodcut which may be in the page, this electrotype plate can receive a hundred thousand impressions, or more, without loss of beauty or sharpness. It can be handled, packed, and transported with more ease and greater safety than the type or the wood. The page of type costs, composition included, about seven dollars; a full page of woodcut costs from one hundred to two hundred dollars. The electrotype of either costs less than one dollar. These are the reasons why electrotypes are made." (91)
This article points out that by 1890 the magazine could shape illustrations to fit onto a cylindrical press, thanks, no doubt, to the electrotype plates, but that illustrations from woodcuts still were not usually printed on both sides of the same page. De Vinne describes the "shaping machine, with its gas heater and air blast, which curves a flat plate to fit the periphery of the printing cylinder of the web press...." (92) This was "another novelty" in 1890, he says. (92) Special plates with special coating with a film of nickel or a film of steel were often used. (92) "Encouraged by the success of the web press in magazine presswork, the printers of The Century have applied the rotary principle to a new machine for fine illustrations, expressly made for them by Messrs. R. Hoe & Co. and but recently put to work. Sixty-four plates of The Century, truly bent to the proper curve, are firmly fastened on one cylinder sixty inches long and about thirty inches in diameter; sixteen inking rollers, supplied with ink from two ink fountains, successively ink these sixty-four plates with a delicacy and yet with a fullness of color never before attained.... The performance of the machine could have been more than doubled by adding to it other cylinders which would print on both sides of the paper; but careful experiment has proved that the finest woodcuts cannot be properly printed with this rapidity. To get the best results the ink on side of the paper must be dry before it is printed on the other side." (94) De Vinne notes the difficulties that remained in trying to print images with different shades. (95)
For advertising and good book work, De Vinne writes, a special hoe press was used. He then describes the process as the paper unrolls during printing through the loading of the magazine onto trucks for delivery.
The "web press" used by the magazine was "not so fast as the web press of daily newspapers, but it performs more operations and does more accurate work," the article says. (93) The web press had limitations: it was "not at all an economical machine for small editions" nor could "it be successfully used for the fine woodcuts" of the magazine's illustrated articles. (93) For the pages using the woodcuts, the magazine turned to a slower and smaller stop cylinder machine, described above.
De Vinne discusses the national and worldwide distribution ot the magazine. (98-99)
By 1890, moderately priced, smooth-surfaced paper was readily available. "Easy working and durable black inks are as common now as they were scarce twenty years ago. Electrotype plates are made of smooth surface, and are curved with unharmed lines, to fit the cylinders of rotary printing machines on which they produce presswork that fully meets the most exacting requirements," De Vinne write. (99)
The author concludes by speculating on how these technological changes might have altered John Milton's dream in Areopagitica: "In the literary workshop of which John Milton dreamed, 'the pens and heads, sitting by studious lamps, musing, searching, revolving new notions and ideas,' were those only who thought and wrote. Now, the thinkers have mechanical helpers. In machine shops and paper mills, in printing houses and electrotype foundries, are other studious men equally busy in mechanical devices that aid writers in realizing this dream of the 'Areopagitica.'" (99) woodcuts wood engraving magazines news and journalism illustrations, and journalism journalism, and illustrations illustrations, and newspapers newspapers, and illustrations magazines, and illustrations illustrations, and magazines illustrations, and wood engraving wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving journalism, and presses newspapers, and presses stereotyping presses presses, and Hoe presses, and rotary books, periodicals, newspapers newspapers, and woodcuts materials materials, and paper newspapers, and paper illustrations, and rotary presses illustrations, and cylinder presses woodcuts, and cyclinder presses cylinder presses, and woodcuts presses, and stop cylinder illustrations, and stop cylinder press magazines, and ink illustrations, and ink printing printing, and hand setting type illustrations, and electrotype plates printing, and electrotype plates woodcuts, and electrotype plates magazines, and type-setting printing, and type setting presses, and web press printing, and web press Milton, John, and printing freedom freedom, and printing processes illustrations journalism print De Vinne, Theodore L. The Printing of 'The Century' 41750 Decherney, Peter Copyright Dupes: Piracy and New Media in Edison v. Lubin (1903) Film History
2007
19 2 109-24 IPeter Decherney writes about efforts of such studios as those controlled by Thomas Edison to copyright films as photographs. The central question he asks is "Was film really a new medium or was it just the latest extension of photography?" (109) Decherney covers the before 1912, the year that motion pictures were incorporated into copyright law in the Townsend Amendment. The Edison Manufacturing Co. began copyrighting films as photographs in 1894 with a moving picture of Fred Ott, a laboratory assistant, sneezing.
Decherney points put that piracy was a major problem from the invention of photography. The duping of films, he says, "was only one part of a much larger culture of copying." (113) The motion picture industry was "built on duping." (121) Siegmund Lubin among the most "prodigious" (121) dupers and was sued on several occasions by Edison. In 1903 in Edison v. Lubin, Judge George Mifflin Dallas sided with Lubin and agreed that films and photographs were "different, and it is just too complicated for the law to consider them to be equal." (118) Film, he concluded, was a new technology. Although Dallas did not endorse piracy, the result of his decision was to make film duping legal for a brief time. (118) The appellate decision in this case, handed down by Judge Joseph Buffington in 1903, overturned Dallas' judgment and essentially took Edison's side. "Buffington argued that motion pictures advanced the art of photography rather than creating a new medium." (120) For copyright purposes, films were photographs. This view seemed reasonable for "single shot, panoramic films" such as Christening and Launching Kaiser Wilhelm's Yacht 'Meteor' (1902). But between 1902and 1904, more complicated story films were developed. Even so, "the legal doctrine that defined films as photographs became broader and more entrenched." (122)
Decherney concludes that although Edison v. Lubin clearly set a legal precedent, ... the quick fix declaring film to be a new form of photography rather than a new medium didn't solve any of the existing problems. On the contrary, the decision exacerbated the problems. Duping continued and the confusion over how to implement the new standard contributed to the monopolization of the film industry." (122) The case was "a fascinating example of what happened when courts try to explain a new medium using the terms of an old one: their decisions are ineffectual and generally delay true grappling with the newness of the new medium. Piracy is an integral element of the development of new media; it reveals the new functions and dimension of the new medium. Courts are left with the difficult job of separating the innovations revealed by piracy from the theft facilitated by piracy. But forcing new media to labor exclusively under the rules of old media inevitably fails." (123)
Decherney also discusses an interesting case involving circus posters and other commercial advertisement, Bleistein v. Donaldson Lithographic Company (1903) in which U. S. Supreme Court Justice Oliver Wendell Holmes concluded "neither mass reproduction, nor commercial use, nor lowbrow or risqué subject matter, could disqualify a work from copyright protection." (119) This case, Decherney argues, influenced Judge Buffington's appellate decision in Edison v. Lubin. motion pictures motion pictures, and copyright copyright, and motion pictures court cases court cases, and Edison v. Lubin (1903) Edison, Thomas motion pictures, and Thomas Edison Edison, Thomas, and motion pictures photography motion pictures, and photography photography, and motion pictures motion pictures, and duping motion pictures, and piracy court cases, and new technology motion pictures, as new technology advertising, and copyright copyright, and posters posters, and copyright copyright, and advertising duplicating technologies duplicating technologies, and copyright copyright, and duplicating technologies advertising Edison, Thomas, and piracy Edison, Thomas, and copyright advertising and public relations copyright posters Decherney, Peter Copyright Dupes: Piracy and New Media in Edison v. Lubin (1903) 39370 Decherney, Peter Hollywood and the Culture Elite: How the Movies Became American New York Columbia University Press
2005
This, the author's first book, examines the collaboration between Hollywood and American cultural institutions between 1915 and the mid-1960s. The author makes two arguments. This first is "that museums, universities, and government agencies embraced film and the film industry to maintain their hold on American art, education, and the idea of American identity itself. They formed partnerships with Hollywood in order to expand their reach to the swelling and increasingly diverse mass audience for art and entertainment -- the audience, that is, that had already been captured by Hollywood. This expansion entailed neither a one-directional reassertion of traditional values nor a wholesale adoption of popular culture. Instead high and low culture, ethic minorities and WASPs, and movie producers and university professors mixed in unpredictable patterns." (2) The second argument is "that the leader of the film industry welcomed the opportunity to join forces with established institutions, because they saw it as a means of stabilizing their industry and retaining their new and tenuous hold on 2/3 American culture. Together, these two arguments reconnect intertwined histories that have previously been considered parallel." (2-3)
Decherney's book has six chapters plus a Conclusion. In chapter 1, "Vachel Lindsay and the Universal Film Museum," the author discusses Lindsay's book The Art of the Moving Picture (1915; revised 1922) and Lindsay's "vision for a film library or film museum that would have recaptured an ideal public sphere 6/7 of democratic debate and representation." (6-7) This book was especially influential with some faculty at Columbia University. Chapter 2, "Overlapping Publics: Hollywood and Columbia University, 1915," examines the establishment of Columbia's programs for film education. Chapter 3 is "Mandarins and Marxists: Harvard and the Rise of Film Experts." It "argues that the emphasis on skilled evaluation and the extension of connoisseurship to popular culture were part of a larger move within the field of art history to replace the paternalism of cultural stewardship based on lineage with a new model of art appreciation defined by professional skills and credentials. The new professional standards allowed Jews in particular and anyone not born to the genteel class more generally to enter the ranks of art historians and curators." (9)
Chapter 4 is entitled "Iris Barry, Hollywood Imperialism, and the Gender of the Nation." It examines the work of "Ezra Pound's protégé" and "her influence on the reception and international definition of American film. Barry was an important British film critics of the 1920s, and in that role she articulated one of the strongest positions against the global spread of Hollywood films and American culture.... Barry theorized film in gendered terms. She diagnosed Britain's emasculation by U. S. cultural imperialism on the one hand, and, on the other, she speculated about film's ability to transport women out of their culturally prescribed gender roles." (10)
In Chapter 5, "The Museum of Modern Art and the Roots of the Cultural Cold War," the author looks at the effort to mobilize film during World War II and the Cold War. It "charts the points of contact between commercial pubic relations and war propaganda since World War I, controversies over the presentation of Nazi and Soviet films in the United States during the 1930s, and the long arm of the Rockefeller Foundation in the brokering of Hollywood-government-cultural organization interaction from the 1930s to the 1950s." (10)
Chapter 6 is calls "The Politics of Patronage: How the NEA (Accidentally) Created American Avant-Garde Film," and the Conclusion is subtitled "The Transformation of the Studio System." This book has Endnotes (213-51) and an Index (253-69) but no Reference section. nationalism Jews fame celebrity motion pictures nationalism and communication motion pictures, and nationalism nationalism, and motion pictures motion pictures, and patriotism patriotism, and motion pictures actors acting motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality Lindsay, Vachel motion pictures, and Vachel Lindsay actors, and status of acting, and status of motion pictures, and art art, and motion pictures motion pictures, and Jews Jews, and motion pictures art, and Jews Jews, and art motion pictures, and studio system studio system, and motion pictures critics critics, and American films abroad motion pictures, and Americanism women women, and motion pictures motion pictures, and women motion pictures, and cultural imperialism cultural imperialism, and motion pictures war World War II, and motion pictures motion pictures, and World War II Cold War, and motion pictures motion pictures, and Cold War propaganda propaganda, and motion pictures motion pictures, and propaganda motion pictures, and avant garde avant garde films art art avant garde Cold War cultural imperialism patriotism photography World War II Decherney, Peter Hollywood and the Culture Elite: How the Movies Became American 3300 Dede, Christopher Educational and Social Implications Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
242-57 This piece appeared first in Programmed Learning and Educational Technology (Nov. 1981). The author, then a professor of Education and Futures Research at the University Houston, analyzes the changes, intended and unintended, brought by computer technology. computers information technology computers and the Internet computers and society information technology, and education education, and computers computers education computers, and education computers, and unintended consequences Dede, Christopher Educational and Social Implications 29610 Dee, Jonathan Playing Mogul New York Times Magazine
Dec. 21, 2003
36-41, 52-53, 66-68 The author argues that video games are where motion pictures were during the 1930s -- "on the verge of become the popular entertainment." (p. 36) This piece notes that in 2002, video games were a $28 billion-dollar industry and that the American market for these games was growing about 20 percent annually. People spent more time playing video games in 2002 than that did watching rented videos or DVDs. The article also notes the concerns that parents and researchers have expressed about the possible effects of violence video games. The author notes that "unlike movies or music or almost any other form or popular entertainment -- or drugs, for that matter -- games are virtually impossible to consume anywhere outside someone's home." (p. 52) violence video games media effects media effects, and video games video games, and media effects children children, and new media children, and video games video games, and children violence, and children video games, and violence home home, and new media home, and video games video games, and home children, and media Dee, Jonathan Playing Mogul 34460 Defense Advanced Research Projects Agency Stategic Computing: New-Generation Computing Technology: A Strategic Plan for its Development and Application to Critical Problems in Defense [Washington, D.C.?] Defense Advanced Research Projects Agency
Oct. 28, 1983
This 69-page document (plus appendices) sets out the Defense Advance Research Project Agency's plan for a new strategic computing initative. It begins: "As a result of a series of advances in artificial intelligence, computer science, and microelectronics, we stand at the threshold of a new generation of computing technology having unprecedented capabilities. The United States stands to profit greatly both in national security and economic strength by its determination and ability to exploit this new technology." (1) The generation of computers "will exhibit human-like, 'intelligent' capabilities for planning and reasoning," it says. (1) The plan calls for close cooperation between industry, universities, and the military. This documents predicts that the next generation of computing will change warfare in a fundamental way and also have enormous spin-off implications for the civilian sector. The changes under way are analogous "to those resulting from the replacement of the vacuum tube by the transistor, the displacement of discrete transistors by integrated circuits, and the fourth generation displacement of simple integrated circuit technology by VLSI now occuring in the computer and electronics industry." (9) computers computers nationalism military-industrial complex microprocessing Defense Advanced Research Projects Agency (DARPA) strategic computing initiative DARPA computers and the Internet military communication nationalism and communication microprocessors Artificial Intelligence and Biotechnology military, and artificial intelligence artificial intelligence, and military computers, and artificial intelligence supercomputers military-industrial-university complex microelectronics transistors integrated circuits computers, fifth generation fifth generation computers computers, fourth generation Defense Advanced Research Projects Agency Stategic Computing: New-Generation Computing Technology: A Strategic Plan for its Development and Application to Critical Problems in Defense 34700 Defense Advanced Research Projects Agency Strategic Computing: Second Annual Report: New General Computing Technology: A National Strategy for Meetng the National Security Challenge of Advanced Computer Technology Arlington, VA
Defense Advanced Research Projects Agency
Feb. 1986 As Director Robert C. Duncan notes in his opening remarks on this Report, the "fundamental goal of the Strategic Computing Program is to advance machine intelligence technologies by emphasizing research in several scientific disciplines. First, the program supports research in advanced computing architectures including concepts that promise to allow thousand fold increases in processing capability using multiprocessors that can process data in parallel streams, thereby improving both speed and flexibility in accomplishing massive computations, both symbolic and numeric. Second, the program emphasizes research in several areas of machine intelligence: advanced expert systems, speech recognition, natural language processing, and computer vision. Third, Strategic Computing includes research in microelectronic devices such as optical interconnects that can reduce the physical interfaces between internal computer hardware, thus avoiding bottlenecks while improving speed. Finally, Strategic Computing builds the elements of infrastructure needed to support research on advanced computing technologies, such as rapid prototyping methocs for system development, large-scale emulation facilities, and access to new generation computers as they become available." (1-2) Duncan goes on to say that "An underlying objective of Strategic Computing, as with all DARPA programs, is the advancement of the scientific and technical capability of our universities, national laboratories, and industry." (2)
The Report goes on to say that the "main components of the Strategic Computing Program are Military Applications and a Technology Base consisting of: New Machine Architectures (symbolic and numeric), Generic Software Systems, and Microelectronics. The current Military Applications projects include an Autonomous Land Vehicle (ALV), systems for Naval Fleet Command Center Battle Management (FCCBMP) and for Army AirLand Battle Management (ALBM), a Pilot's Associate system, and a system for Radar/Optical Imagery Analysis. The role of the applications projects is to provide a realistic task environment for technology research. Also, these projects are designed to service as the principal means of demonstrating the emerging technology and of transferring it to military systems and to the industrial base." (3)
 computers computers nationalism military-industrial complex microprocessing Defense Advanced Research Projects Agency (DARPA) strategic computing initiative DARPA computers and the Internet military communication nationalism and communication microprocessors artificial intelligence and biotechnology military, and artificial intelligence artificial intelligence, and military computers, and artificial intelligence supercomputers military-industrial-university complex microelectronics transistors integrated circuits computers, fifth generation fifth generation computers computers, fourth generation Defense Advanced Research Projects Agency Strategic Computing: Second Annual Report: New General Computing Technology: A National Strategy for Meetng the National Security Challenge of Advanced Computer Technology 27570 Deibel, Mary Court Supports Laws to Prevent Porn Using Kids Denver Rocky Mountain News
June 27, 1995
A A21 This article is about the U. S. Supreme Court clearing the way for enforcment of the Child Protection and Obscenity Enforcement Act of 1988. The law required people who produced explicit sex films, book, magazines, and videotapes to maintain records of all actors including their names and nicknames. Such groups as the American Library Association, the Right to Read Foundation, and the American Booksellers Association said the record keeping provisions of this law violated the First Amendment. presidents, and new media Reagan administration values sexuality values obscenity Meese Commission First Amendment freedom censorship and ratings children censorship and ratings censorship pornography law, and pornography Reagan, Ronald, and pornography pornography, and Reagan judges obscenity, and pornography Meese, Edwin, and pornography Child Protection and Obscenity Enforcement Act (1988) pornography, judicial setbacks American Library Association First Amendment, and pornography pornography, and First Amendment law Reagan, Ronald children, and media Deibel, Mary Court Supports Laws to Prevent Porn Using Kids 300 Deibert, Ronald J. Parchment, Printing, and Hypermedia: Communication in World Order Transformation New York Columbia University
1997
This work argues that the “landscape of world politics is undergoing rapid and fundamental transformations related to the advent of digital-electronic telecommunications,” what the author calls the “hypermedia environment.” Diebert maintains that the best way to understand these changes is by using “medium theory,” something first set out by the Canadian political economist and historian, Harold A. Innis, and later popularized by his University of Toronto colleague, Marshall McLuhan. Medium theory holds that “changing modes of communication have effects on the trajectory of social evolution and the values and beliefs of societies.” It “traces these effects to the unique properties of different modes of communication – to the way information is stored, transmitted, and distributed through different media at different times in history. It focuses on the material properties of communication environments rather than on the content of the message being conveyed,” a view captured in McLuhan’s well-known phrase, “the medium is the message.” Diebert attempts to ground his views in what he calls a “historical-materialist perspective” reflected in the work of such scholars as Innis, Lewis Mumford, and Fernand Braudel, more so than in the work of such post-modernist theorists as Michel Foucault, Jacques Derrida, and Jean François Lyotard.
This 329-page book is divided into two parts. Part 1, “Printing and the Medieval to Modern World Order Transformation,” examines the parchment codex and the Roman Catholic Church’s rise to power during the Middles Ages. It also looks at the changes brought by the printing press and it role in the changing political authority from a medieval to modern outlook. Part 2, “Hypermedia and the Modern Postmodern World Order Transformation,” deals with the emerging hypermedia environment and how has changed distributional patterns and social epistemology.
The work has notes, a 30-page bibliography, and index. The author at the time of the book's publication taught in the political science department at the University of Toronto. R & D computers surveillance nationalism values Christianity surveillance values print preservation postmodernism materials new media research and development war satellites history, and new media digitization values war non-USA history Innis, Harold medium theory McLuhan, Marshall printing parchment hypermedia digital media military communication digital media, and military history, break with nationalism and communication computers and the Internet international relations, and new media postmodernism, and new media satellites, and reconnaissance surveillance, and new media media revolution medium is the message religion, and new media new media, and religion Catholic Church, and new media new media, and Catholic Church military-industrial complex digital media, and military military, and digital media books codex printing press, and change parchment, and codex Canada Canada, and new media books, periodicals, newspapers Catholic Church religion aeronautics and space communication Deibert, Ronald J. Parchment, Printing, and Hypermedia: Communication in World Order Transformation 33560 Delbourgo, James Electricity, Experiment, and Enlightenment in Eighteenth-Century North America Columbia University
2003
This Abstract from UMI ProQuest Digital Dissertations: "This dissertation pursues recent themes from the historiography of early modern science in early North American history to explore the ways in which North Americans sought enlightenment through electrical experiment between roughly 1745 and 1810. Including, but moving beyond the figure of Benjamin Franklin, it examines interactions between electricity and the human body in the construction of natural philosophy, the presentation of electrical knowledge through public demonstrations, the development of the lightning rod, political discourse during the era of the American Revolution, and a variety of programmes for manipulating electricity as a resource for medical therapy. It describes a North American Enlightenment made through material-cultural practice, and the interaction of bodies and artificial machines, as described by a variety of eighteenth-century discourses: technical (principally natural philosophy, physiology and therapeutics), social (from polite self-improvement to revolutionary republicanism and the humanitarian dissemination of useful knowledge), and religious (from physico-theology to Providentialism and Protestant millenarianism). The dissertation thus addresses not only the question of how North Americans understood the relationship between electricity and the body, but also why they believed this relationship to be important. In addition, it elucidates the ways in which electrical knowledge and practice functioned across the ostensibly distinct realms of science, medicine and technology, by attending to the reciprocities between heterogeneous fields and practices and their common dependence on philosophical apparatus (scientific instruments)."
 electricity electricty, and enlightenment Franklin, Benjamin, and electricity electricity, and medicine Franklin, Benjamin Delbourgo, James Electricity, Experiment, and Enlightenment in Eighteenth-Century North America 12370 Delery, Henry C. Coloring Post Cards American Annual of Photography: 1908
1907
65-68 This short piece provides an interesting account of the process used in coloring post cards in 1907-08. post office photography postal service photography and visual communication postcards color color, and postcards Delery, Henry C. Coloring Post Cards 5660 Delgado, Alan The Enormous File: A Social History of the Office London John Murray, Ltd.
1979
A well-illustrated history of the office through history, designed for a non-specialized reader (the text runs only 113 pages). The author discusses such innovations as pens and writings instruments, the typewriter, photocopying, dictating and duplicating machines, the computer -- and their impact on office work. illustrations computers women, and new media time and timekeeping labor timekeeping, and clocks non-USA office women duplicating technologies office, and information technology information technology illustrations duplicating technologies information technology, and office dictating machines sound recording computers and the Internet photocopying typewriters illustrations, and office technology writing writing, and pens women, and office technology telephones telephones, and office timekeeping Great Britain capitalism sound recording, and dictating machines women, and new media office, and new media Delgado, Alan The Enormous File: A Social History of the Office 19500 Deloria, Vine Jr. The Confusion of History: A Review Essay Historical Magazine of the Protestant Episcopal Church
Sept., 1977
46 349 Deloria comments on a “collapse of history” that risked “losing all sense of orientation toward our ... traditions,” and that placed us at the mercy of “the ephemeral fads of modern society.” advertising, and public relations time and timekeeping time propaganda public relations preservation present mindedness history, and new media history history television television, and history history, break with advertising, and history history, and advertising time presentism history, and presentism history, as linear advertising Deloria, Vine Jr. The Confusion of History: A Review Essay 7590 Denevan, William M. ed. The Native Population of the Americas in 1492 Madison University of Wisconsin Press
1992
This work has interesting material on how satellite photography has been used to recover the past. photography preservation history, and new media satellites photography, and satellites photography and visual communication history aeronautics and space communication satellites, and photography photography, satellite history, and satellite photography photography and visual communication Denevan, William M. ed. The Native Population of the Americas in 1492 1630 Denning, Michael Mechanic Accents: Dime Novels and Working Class Culture London and New York Verso
1987, 1998
Denning comments on the significance of dime novels, an early for of mass communication and mass marketing. “A century later, the controversies over this literary movement are as faded as the decaying dime novels themselves. But the questions surrounding the dime novel, one of the first mass media, one of the first culture industries, remain central to contemporary cultural politics. ... Thus the book will weave together an economics and a poetics of the dime novel, an account of the novels as commodities, of the relations between author, publisher and reader within the dime novel industry, and of the relations between these commodities and the culture industry as a whole.” (2)
Denning contends that “these popular stories, which are products of the culture industry ‘popular’, ‘mass’, or ‘commercial’ culture can be understood neither as forms of deception, manipulation and social control nor as expressions of a genuine people’s culture, opposing and resisting the dominant culture. Rather they are best seen as a contested terrain, a field of cultural conflict where signs with wide appeal and resonance take on contradictory disguises and are spoken in contrary accents.” (3)
This work notes the connection and similarities between dime novels and journalism. Like journalism, “dime novels are best considered as essentially anonymous, ‘unauthored’ discourse. ... Indeed dime novels and newspapers are linked by more than the coincidence of new technologies and new reading publics. Many dime novelists were newspaper reporters and editors. Moreover, as Bok’s testimony about the fiction factory demonstrates, dime novel plots were often constructed out of the events reported in the daily and weekly newspapers of cities around the country.” (24) publishing print literacy news and journalism paper news and journalism books, periodicals, newspapers print culture print culture, and dime novels journalism, and dime novels paper, and wood pulp literacy, and dime novels books, and dime novels publishing, and dime novels capitalism, and dime novels commercialization, and dime novels labor labor, and dime novels journalism books capitalism materials commercialization Denning, Michael Mechanic Accents: Dime Novels and Working Class Culture 380 Derian, Jean-Claude America’s Struggle for Leadership in Technology (translated from French by Severen Schaeffer) Cambridge, MA MIT Press
1990
Derian argues that there are two distinct technical cultures. The first “is the ‘exposed’ culture of competitive activity, of government support for basic science and higher education in support of innovative new ventures: Silicon Valley, Route 128, and the Research Triangle. The second is the ‘sheltered’ culture of high-technology multinational companies whose growth was ensured by the protection of a vast domestic market and by support through military and space procurement (or, in the case of telecommunications, by the warm blanket of status as a public monopoly).” Derian contends that the Japanese are proficient and competitive in the exposed culture, while France and the United Kingdom (and other European countries) are better in the sheltered culture.
In the United States, these two cultures are, in effect, “two universes, foreign to each other, operating on different bases, with different objectives and motivations.”
In contrast to the French economist Christian Stoffaës, who in Fin de Mondes used the hypothesis of Russian economist Kondratieff to argue that American hegemony would decline during the last phase of Kondratieff's fourth cycle, Derian concluded in 1990 that “American industry is not declining but is in transition, probably in the process of adapting to a world that is radically new to it.”
The author also discusses the value of the space shuttle to communication and mentions the strategic computing initiative.
This work, originally published in French, was translated by Severen Schaeffer. R & D computers materials, and silicon nationalism corporations corporations, multinational materials silicon research and development war war non-USA computers and the Internet computers space communication science political economy general studies nationalism and communication Silicon Valley Research Triangle Route 128 research and development scientific research and government support Japan Great Britain military communication aeronautics and space communication multinational corporations global communication strategic computing initiative space shuttle Stoffaes, Christian Kondratieff cycles science and society satellites Kondratieff, Nikolai telecommunications military communication, and civilian sector Derian, Jean-Claude America’s Struggle for Leadership in Technology (translated from French by Severen Schaeffer) 7780 Dertouzos, Michael L. What Will Be: How the New World of Information Will Change Our Lives New York HarperEdge
1997
Dertouzos, head of the MIT Laboratory for Computer Science, here tries in 336 pages to give a “preview of the inventions that will usher in a Third Revolution to rival the Agricultural and Industrial Revolutions.” computers communication revolution communication revolution, and second industrial revolution computers and the Internet artificial intelligence and biotechnology second industrial revolution communication revolution Industrial Revolution Agricultural Revolution agriculture Dertouzos, Michael L. What Will Be: How the New World of Information Will Change Our Lives 9030 Dery, Mark Escape Velocity : Cyberculture at the End of the Century New York Grove Press
1996
This book focuses on what some would call the fringes of Internet culture and others would place more centrally–the so-called computer counterculture–”cyberpunks, cyberhippies, and technopagans.” Dery’s work examines the appeal of cyberspace and potential downsides of the new technologies. The work is based primarily on secondary sources, particularly the work of Marshall McLuhan.
--Mark Tremayne computers values computers and the Internet Tremayne, Mark cyberspace values, and Internet critics McLuhan, Marshall computers, and counterculture computers Dery, Mark Escape Velocity : Cyberculture at the End of the Century 390 Dery, Mark The Pyrotechnic Insanitarium: American Culture on the Brink
 New York Grove Press
1999
This book resides somewhere in between a scholarly monograph and work of journalism. Dery is a cultural critic who has written for Wired, Rolling Stone, and New York Times Magazine. He writes of this book that it “rewards nonlinear reading and welcomes readers at ease with mental hyper-links -- far-flung, associative leaps of logic. It’s tuned to the keynote assumption of our age of Nets and Webs and massively parallel Connection Machines -- namely, that information exists not in discrete atoms of fact but in synergistic meshworks and unexpected juxtapositions.”
Dery’s Introduction points to how fact and fiction converge in modern American culture. These pages provide examples of how conspiracy theories and paranoia infuse our society, from Chris Carter’s The X-Files, to speculation about the Kennedy assassination, to Noam Chomsky, to fears about high-tech spying. “Conspiracy theory is a magic spell against the Information Age, an incantation that wards off information madness by organizing every scrap of the free-floating data assaulting us into an impossibly ordered scheme,” Dery says. “In the Luna Park we now inhabit, the permeable membrane between fact and fiction, actual and virtual, is in danger of dissolving altogether.”
Dery’s work is divided into five sections: 1) “Dark Carnival” treats such themes as “psycho-killer clowns and Jim Carrey’s “excremental excess.” 2) “Dead Meat” contains chapters entitled “Mad Cows and Englishmen,” “Mysteries of the Organism: The Operation” and “Formaldehyde Photography and the New Grotesque.” 3) “Main Street, U.S.A.: The Public Sphere” has chapters on “Past Perfect: Disney Celebrates Us Home,” and “Trendspotting: I Shop, Therefore I Am.” 4)”The Parent Trap” offers chapters entitled “Grim Fairy Tales: Renée French’s Kinderculture,” “The Unheimlich Maneuver: The Doll Hour,” and “Empathy Bellies: Cloned Sheep and Pregnant Men.” 5) “Riding Shotgun with the Doom Patrol” includes “Wild Nature, Wired Nature: The Unabomber Meets the Digerati,” and “Space Oddities: Heaven’s Gate and Home Cyber -- Strange Alliances on the Level Above Human.” computers corporations corporations photography preservation genetics community democracy reading history general studies reading, nonlinear conspiracy theories fact and fiction, convergence photography and visual communication public sphere Disney cyberspace history, and entertainment history, and new media information age genetic engineering motion pictures computers and the Internet artificial intelligence and biotechnology democracy and media Dery, Mark The Pyrotechnic Insanitarium: American Culture on the Brink 5670 Dessauer, John H. My Years with Xerox: The Billions Nobody Wanted Garden City, N.Y. Doubleday & Company, Inc.
1971
Dessauer was executive vice-president of Xerox Corporation, vice-chair of its Board of Directors, and head of its Research and Engineering Division. He was with Xerox from 1935 until he retired in 1970. This book is surprisingly informative and contains good material on the growth of Xerox during the 1960s after the introduction of the 914 Model around 1960. The author also gives a good portrait of Chester Carlson. Other interesting pieces of information concern Xerox’s decision to sponsor a series of TV programs on the UN; the use of facsimile copies; and the acquisition of University Microfilms in 1962. corporations corporations Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories labor communication revolution communication revolution non-USA xerography United Nations duplicating technologies office, and information technology microfiche, microfilm, microform information technology graphics revolution duplicating technologies autobiography photocopying Xerox Corporation graphics revolution (1960s) microfilms, and University Microfilms United Nations, and Xerox Carlson, Chester information technology, and office facsimile microfilm office Dessauer, John H. My Years with Xerox: The Billions Nobody Wanted 5680 Dessauer, John H. and Harold E. Clark eds. Xerography and Related Processes London and New York Focal Press
1965
This book is largely a collection of essays dealing with the scientific developments leading to xerography. The opening chapter is by Chester F. Carlson, the primary inventor of this process“History of Electrostatic Recording.” labor duplicating technologies office, and information technology information technology duplicating technologies Carlson, Chester photocopying xerography electrostatic recording information technology, and office office, and photocopying duplicating technologies, and electrostatic recording office Dessauer, John H. and Harold E. Clark eds. Xerography and Related Processes 1800 Desser, David and Garth S. Jowett eds. Hollywood Goes Shopping Minneapolis University of Minnesota Press
2000
This collection of essays explores the explores the relationship between the motion picture industry and American consumer culture. The essays are organized under three broad themes: “Creating Consumers,” “Consuming Creators,” and “Hollywood: The Dreamscape.” Part I, “Creating Consumers,” examines how the movie industry built its audience and how the movies encouraged the consumption of goods. In this process, the movies were often part of a larger complex that included newspapers, magazines, and books. Part II, “Consuming Creators,” considers how movie stars promoted consumption. Part III, “Hollywood: The Dreamscape,” deals with the importance of a specific place (i.e., Hollywood, Los Angeles, California) in this culture. As David Desser and Garth Jowett note in their Introduction, cinema “even as an entertainment medium ... inaugurated vast shifts in social life” and provided “educational lessons ... about what it means to be American.” One lesson strongly emphasized consumption. The editors explain their goal as follows: “From the influence of cinema on society to the influence of society on cinema, the contributors to this book seek to highlight these relationships through the lens of consumerism and consumer culture.” Of special interest in these pages has been the effects that this culture has had on women, how they are often targeted by consumer culture and how they are presented in the movies. Several essays are devoted to exploring this theme.
This book contains fourteen essays by involving nineteen different writers. Contributors to the work include: Heather Addison, Barbara Wilinsky, Sara Ross, Cynthia Felando, Sarah Berry, Rick Worland and David Slayden, Gaylyn Studlar, Rebecca L. Epstein, Aida A. Hozic, Angela Curran, Jeffrey Charles and Jill Watts, Josh Stenger, Thomas E. Wartenberg, Larry W. Riggs and Paula Willoquet-Maricondi. This volume is part of the University of Minnesota Press’s Commerce and Mass Culture Series. celebrity nationalism women, and new media advertising, and public relations propaganda public relations motion pictures consumerism capitalism news and journalism motion pictures and popular culture motion pictures, and consumerism motion pictures, and capitalism motion pictures, and values values, and motion pictures critics capitalism, and motion pictures consumerism, and motion pictures women women, and consumerism women, and motion pictures motion pictures, and women consumerism, and women advertising, and women advertising, and motion pictures motion pictures, and advertising color color, and consumer culture color, and motion pictures motion pictures, and color newspapers, and motion pictures motion pictures, and newspaper books, and motion pictures motion pictures, and books Jowett, Garth advertising newspapers values advertising, and motion pictures motion pictures motion pictures and popular culture capitalism women, and motion pictures values, and motion pictures capitalism, and motion pictures motion pictures, and capitalism motion pictures, and values motion pictures, and women media effects media effects, and consumerism advertising and public relations advertising, and motion pictures motion pictures, and advertising audiences nationalism and communication motion pictures, and nationalism celebrity culture women, and celebrity culture celebrity culture, and women sexuality motion pictures, and consumerism Jowett, Garth Hoziƒ, Aida books books, periodicals, newspapers news Desser, David and Garth S. Jowett eds. Hollywood Goes Shopping 22090 Detenber, B. H. S. P. Winch The Impact of Color on Emotional Responses to Newspaper Photography Visual Communication Quarterly
2001
8 3 4-14 See also: violence See also: sexuality This research maintains that color depictions of blood and violence in news photographs are more disturbing to viewers than the same pictures in black-and-white. The authors explain that this study "was designed to explore the emotional impact of black and white versus color in news photographs. Given that there seems to be some kind of color-content interaction, we chose to assess the emotional impact of color using three particular categories of images: those that depict bloody violence, those that show fire and destruction, and images of tragedy and grief." Among the conclusions they draw: "In general, the influence of color on all dimensions of emotions was greatest for the images depicting bloody violence." photography motion pictures media effects media violence journalism news and journalism motion pictures and popular culture photography and visual communication photography photography, and color photography, and newspapers newspapers, and photography newspapers, and color photography color color, and photography media effects media effects, and color photography media effects, and color violence violence, and color photography photography, and violence newspapers news S. P. Winch The Impact of Color on Emotional Responses to Newspaper Photography 22100 Detenber, Benjamin H. Robert F. Simons Jason E. Reiss The Emotional Significance of Color in Television Presentations Media Psychology
2000
2 331-55 See also: violence See also: sexuality The effects of color images on viewers merits additional research. This article is one of the relatively few studies that considers what impact color moving images in films and on television have on attention. The authors write: "Results indicate that the influence of color appears in the self-reports of emotional experience, but in none of the physiological measures. These results suggest that people feel, or consciously believe they feel, that color pictures are more pleasing and exciting than monochrome versions of the same images, yet there is no difference in their physiological responses. The implications of this dissociation of emotional responses are discussed." photography newspapers motion pictures media effects media violence journalism news and journalism motion pictures and popular culture photography and visual communication photography photography, and color photography, and newspapers newspapers, and photography newspapers, and color photography color color, and photography media effects media effects, and color photography media effects, and color violence violence, and color photography photography, and violence television television, and color media effects, and color television color, and motion pictures motion pictures, and color news Jason E. Reiss The Emotional Significance of Color in Television Presentations 3260 Detenber, Benjamin H. and Byron Reeves A Bio-Informational Theory of Emotion: Motion and Image Size Effects on Viewers Journal of Communication
Summer, 1996
46 3 66-84 See also: violence See also: sexuality "The human brain is not specialized to deal with 20th-century media," Detenber and Reeves write. "It is possible to do things with pictures that have no counterpart in natural experience, and these special properties could potentially change emotional response. This experiment has examined two such qualities of media form as predictors of emotional response to pictures: (a) the ability to significantly change the physical size of stimuli (by changing the size of media displays), and (b) the ability to represent an image as either a stationary or moving picture. Each of these formal features is important in media, especially for newer forms of display and representation."
The authors note that "the best summary of prior research is that larger image sizes indeed can intensify viewers' evaluatioins of content."
One conclusion from this study suggests "that emotional responses are affected by the form a message takes, as well as by its content. This means that mediated presesntations, such as film and television, should not be regarded as solely symbolic communication. In temrs of the bio-informational theory of emotion, the significance of media messages to an individual resides not only in their content, but also in the nature of their presentation."
The authors call for "further inquiry into the psychological effects of home theaters. The trend for larger and larger television screens in the home may be altering the viewing the viewing experience." syntheses (of research) fear entertainment computers entertainment, home advertising, and public relations television, and home propaganda public relations motion pictures media effects media violence violence media effects journalism home entertainment computers news and journalism home, and new media home television motion pictures and popular culture computers and the Internet television, and screen size motion pictures, and screen size computers, and screen size media effects, and screen size bibliographies, and effects of screen size news, and screen size advertising, and screen size violence, and screen size media effects, and picture motion media effects, and arousal media effects, and motion pictures media effects, and television media effects, and fear media effects, and home home, and media effects home entertainment, and media effects home, and television home, and big screens advertising bibliographies news fear, and media effects Detenber, Benjamin H. and Byron Reeves A Bio-Informational Theory of Emotion: Motion and Image Size Effects on Viewers 3240 Detenber, Benjamin H. Robert F. Simons and Gary G. Bennett Jr. Roll 'em!: The Effects of Picture Motion on Emotional Responses Journal of Broadcasting & Electronic Media
1988
48 113-27 See also: violence See also: sexuality The authors found that "picture motion significantly increased arousal, particularly when the image was already arousing. Both skin conductance and self-report data supported this finding. Picture motion also tended to prompt more heart-rate deceleration, most likely reflecting a greater allocation of attention to the more arousing images." The author report that for this study, "the influence of picture motion on affective valence was evident only in the self-report measures; positive images were experienced as more positive and negative images as more negative when the image contained motion." motion pictures media effects media violence violence media effects motion pictures and popular culture television media effects, and motion pictures media effects, and television media effects, and picture motion pornography, and picture motion violence, and picture motion pornography Detenber, Benjamin H. Robert F. Simons and Gary G. Bennett Jr. Roll 'em!: The Effects of Picture Motion on Emotional Responses 37460 di Brazza, F. Savorgnan Seeing by Telegraph Living Age
Sept. 26, 1908
258 3351 818-19 This article begins by saying: "To be able to see by electricity! This sounds quite an impossible idea. But however extraordinary the things appears to be, the realization of it is not so very far off. Telephotography, or the transmission of pictures by means of electricity, which has already been accomplished, seems to have paved the way towards the solution of a far vaster problem, that of seeing distant objects by means of the telegraph." The article mentions a "fresh solution," although one "not yet perfect" by a French engineer named L'Armengaud.
The article goes on to say that "Theoretically, to be able to see objects at a distance it is necessary to manufacture by means of selenium, a kind of artificial eye, sensitive to the different degrees of light and shade, the same as our own eyes which perceive an object by means of the contrast between its dark and light parts.... Without going into too many details, we may state that the phenomenon of the persistency of sight forms in vision by telegraph, as in a cinematograph, a useful ally."
"In vision by telegraph the picture is taken, not in its entirety, but in minute parts, and put together again on the screen like a mosaic. This is done so rapidly that the result is practically instantaneous, the time taken to produce the whole picture being less tan one-tenth of a second. The tremendous velocity and the minute precision required have hitherto been the chief obstacles to success in the realization of vision by electricity. These have now been successfully overcome, so that before very long we may be able to see the most distant objects by means of electricity. With all these astonishing new discoveries one wonders 'What next?'" (my emphasis) wireless communication journalism future magazines, and photography facsimile magazines photography electricity theaters electricity, and theaters electricity, and photography photography, and electricity photography and visual communication motion pictures electricity, and motion pictures motion pictures, and electricity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines television telegraph wireless photography and visual communication wireless, and photography photography, and wireless future and science fiction telephotography seeing at a distance modernity modernity, and photography photography, and modernity non-USA France France, and photography by wire France, and telegraph telegraph, and France facsimile, and telegraph telegraph, and facsimile duplicating technologies postal service postal service, and facsimile facsimile, and postal service postal service, and telegraph telegraph, and postal service materials materials, and selenium Great Britain Great Britain, and photography by wire Switzerland, and telegraph Switzerland, and facsimile telegraph, and wireless wireless, and telegraph telegraph, and photography photography, and telegraph television (origins) post office Switzerland di Brazza, F. Savorgnan Seeing by Telegraph 11350 Diamond, Jared Guns, Germs, and Steel: The Fates of Human Societies New York W. W. Norton & Company
1998
Chapter 13 in this Pulitzer-Prize winning work is entitled "Necessity's Mother," and deals with the process technological invention. Occasionally, new technologies are developed to meet specific needs. The Manhattan Project during World War II to create an atomic weapon before Nazi Germany is one such example. But far more frequently, inventions are created and at first society has little or no idea of how they might be used. It is only later that society discovers uses for the new inventions. Thomas Edison's phonograph and the development of the motor vehicle are two such examples. (Edison, for example, at first doubted the commercial values of the phonograph and did not see that its primary purpose would be to record music.) "Thus," the author writes, "invention is often the mother of necessity, rather than vice versa." Diamond also sees the process of invention as usually incremental, not the result of a bold stroke of genius. While inventors such as Edison, Eli Whitney, and Samuel Morse made great improvements over the technology that went before them, they nevertheless built on earlier work.
Diamond's two primary conclusions "are that technology develops cumulatively, rather than in isolated heroic acts, and that it finds most of its uses after it has been invented, rather than being invented to meet a foreseen need." These conclusions are especially true, he says, for ancient technologies. innovation sound recording general studies inventors inventions Edison, Thomas Morse, Samuel sound recording transportation phonograph inventions, process of Diamond, Jared Guns, Germs, and Steel: The Fates of Human Societies 16400 Dick, Bernard F. Radical Innocence: A Critical Study of the Hollywood Ten Lexington, KY University Press of Kentucky
1988
This book is an informative study of the political and social ideas of the blacklisted writers and directors known as the Hollywood Ten. While much attention was focused on these men's ties to the Communist Party, they also wrote extensively on labor, race, and foreign relations, as well as offering a critique of mainstream American history. blacklisting values Hollywood law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and censorship Hollywood Ten blacklisting, and Hollywood Hollywood, and blacklisting censorship, and Hollywood Ten censorship, and Hollywood values, and motion pictures motion pictures, and values motion pictures, and reform motion pictures, and anticommunism motion pictures, and communism motion pictures, and writers values Dick, Bernard F. Radical Innocence: A Critical Study of the Hollywood Ten 42350 Dickson, Antonia Wonders of the Kinetoscope Frank Leslie's Popular Monthly
Feb. 1895
39 2 245-51 This article, written by W. K. L. Dickson's sister, Antonia, explains the purpose of the kinetosope. “Its functions are to give us the representation of life, not as the painting, the photograph or the statue represents it, frozen into a single attitude, but exhibiting all that wealth of movement and expression which makes up the sum of our restless existence.” (245) "The kinetophonograph," she says, "goes a step further. It is the union of the kinetoscope with the phonograph, the blending of visual impressions with their kindred sounds. The combined effect is life, with all its eloquent and insistent appeals to the sense of man." (245)
The author is interesting in describing the "motley possession" that can "be seen winding its way toward the Kinetographic Theatre." (250) It included "Boxing cats, performing monkey, terriers, and rats...." The human subjects are equally diverse." (250) history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and movement history and new media motion pictures, and history history, and motion pictures democracy democracy, and entertainment sound recording motion pictures, and sound recording sound recording, and motion pictures kinetoscope Edison, Thomas Edison, Thomas, and kinetoscope Dickson, W. K. L., and kinetoscope kinetoscope-phonograph motion pictures, and sound motion pictures, and phonograph phonograph Dickson, W. K. L. Dickson, Antonia Wonders of the Kinetoscope 6700 Dickson, Edward M. The Video Telephone: A New Era in Telecommunications Ithaca, NY Cornell University Press
1973
future and science fiction telephones, and picture phones telephones television telecommunications video telephones telephones, and video future Dickson, Edward M. The Video Telephone: A New Era in Telecommunications 2890 Dickson, Keith Petfoods by Computer: A Case Study of Automation Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
174-83 See also: office This article examines what happens when a factory converts to microcomputer-controlled production. It helped productivity but had a large impact on management, maintenance works, and the employment of assembly-line workers who were not unionized and who were unskilled. computers future and science fiction labor information technology computers and the Internet labor, and automation automation, and microcomputers future control revolution information technology, and labor information technology, and industry capitalism artificial intelligence and biotechnology automation labor capitalism, and computers labor, and computers Dickson, Keith Petfoods by Computer: A Case Study of Automation 390 Dickson, Paul Sputnik: The Shock of the Century New York Walker & Company
2001
This very readable book deals with the impact that the Soviet Union’s launching of Sputnik in 1957 had on the United States. President Dwight Eisenhower welcomed this event because it believed it would strengthen the principle of “freedom and space.” He was most interested in the surveillance possibilities of satellites, believing that they could give the United States an accurate picture of Soviet power.
In the author’s view, Sputnik is a seminal event in modern history, as evidenced by the following quotation from physicist Lloyd V. Berkner in October 1957: “From the vantage point of 2100 A.D., the year of 1957 will most certainly stand in history as the year of man’s progression from a two-dimensional to a three-dimensional geography. It may well stand, also, as the point in time at which intellectual achievement forged ahead of weapons and national wealth as instruments of national policy. The earth satellite is a magnificent expression of man’s intellectual growth – of his ability to manipulate to his own purposes the very laws that govern his universe.”
This work has a bibliography and index. There is also a "Notes" section that discusses the literature used in each chapter but no numbered endnotes.
The author has worked as a reporter and has several other popularly oriented books dealing with such topics as baseball and slang. He has also written books entitled Think Tanks (1971), The Electronic Battlefield (1976), and Out of This World: American Space Photography (1977). R & D National Aeronautics and Space Administration (NASA) computers USSR corporations Khrushchev, Nikita Kennedy, John F. Johnson, Lyndon Eisenhower, Dwight D. Defense Advanced Research Projects Agency (DARPA) Central Intelligence Agency Advanced Research Projects Agency Nixon, Richard U-2 plane presidents, and new media RAND Corporation preservation Nixon administration research and development war Kennedy administration Johnson administration history, and new media Eisenhower administration freedom cinematography CIA war non-USA history aeronautics and space communication satellites Eisenhower, Dwight, and satellites Kennedy, John F., and satellites satellites, and reconnaissance satellites, and communication Kennedy, John F., and moon race ARPA DARPA computers history, break with Apollo space program von Braun, Wernher rocketry CIA, and satellites satellites, and Cold War Cold War Cold War, and satellites Eisenhower, Dwight, and Sputnik Eisenhower, Dwight, and space Explorer space program CORONA satellites, and CORONA Germany Germany, and rocketry rocketry, and Germany freedom of space principle Johnson, Lyndon, and satellites Johnson, Lyndon, and space Khrushchev, Nikita, and space manned space flights NASA Nixon, Richard, and space Nixon, Richard, and satellites Germany, Peenemunde RAND Corporation Sputnik Soviet Union Soviet Union, and space U-2, and reconnaissance satellites, Vanguard Vanguard project military communication satellites, and weapons World War II World War II, and rocketry rocketry, and World War II computers and the Internet Dickson, Paul Sputnik: The Shock of the Century 42360 Dickson, W. K. L.// Antonia Dickson Life and Inventions of Thomas Alva Edison New York Thomas Y. Crowell & Co.
1892, 1894
This book presents a laudatory biography of Edison and discusses his inventions up to the early 1890s. Of the early projection of moving pictures, the authors, who worked with Edison, write: “…On exhibition evenings the projection-room, which is situated in the upper story of the photographic department, is hung with black, in order to prevent any reflection from the circle of light emanating from the screen at the other end, the projector being placed behind a curtain, also of black, and provided with a single peep-hole for the accommodation of the lens. The effect of these sombre draperies, and the weird accompanying monotone of the electric motor attached to the projector, are horribly impressive, and one’s sense of the supernatural is heightened when a figure suddenly springs into his path, acting and talking with a vigor which leaves him totally unpre 311/312 pared for its mysterious vanishing. Projected stereoscopically, the results are even more realistic, as those acquainted with that class of phenomena may imagine, and a pleasing rotundity is apparent, which, in ordinary photographic displays, is conspicuous by its absence.
“Nothing more vivid or natural could be imagined than these breathing, audible forms with their tricks of familiar gesture and speech. The inconceivable swiftness of the photo graphic successions, and the exquisite synchronism of the photographic attachment, have removed the last trace of automatic action, and the illusion is complete….” (311-12) history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and movement history and new media motion pictures, and history history, and motion pictures democracy democracy, and entertainment sound recording motion pictures, and sound recording sound recording, and motion pictures kinetoscope Edison, Thomas Edison, Thomas, and biography Dickson, W. K. L., and kinetoscope kineto-phonograph motion pictures, and sound motion pictures, and phonograph phonograph Dickson, W. K. L. kinetoscope, and phonograph electricity electricity, and Thomas Edison motion pictures, and magic motion pictures, as mysterious Dickson, W. K. L.// Antonia Dickson Life and Inventions of Thomas Alva Edison 13490 Dickson, W. K. L. and Antonia Edison’s Invention of the Kineto-Phone The Century Illustrated Monthly Magazine
May-Oct. 1894
48 (New Series Vol. 26) 206-14 Thomas A. Edison in his Introduction (p. 206) to this article on the Kineto-Phone wrote: “I believe that in coming years by my own work and that of Dickson, Muybridge [,] Marié and others who will doubtless enter this field, that grand opera can be given at the Metropolitan Opera House at New York without any material change from the original and with artists and musicians long since dead.” (206)
In this article, W. K. L. Dickson commented on this invention's importance to history: “The advantages to students and historians will be immeasurable. Instead of dry and misleading accounts, tinged with the exaggerations of the chroniclers’ minds, our archives will be enriched by the vitalized pictures of great national scenes, instinct with all the glowing personalities which characterized them.” (214) history motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel history and new media motion pictures, and history history, and motion pictures democracy democracy, and entertainment sound recording motion pictures, and sound recording sound recording, and motion pictures kinetophone Edison, Thomas Edison, Thomas, and kinetophone Dickson, W. K. L., and kinetophone nationalism and communication nationalism, and kinetophone nationalism, and Thomas Edison Dickson, W. K. L. nationalism Dickson, W. K. L. and Antonia Edison’s Invention of the Kineto-Phone 340 Didsbury, Howard F. Jr. Communications and the Future: Prospects, Promises, and Problems Bethesda, MD World Future Society
1982
This work contains more than forty-five essays speculating about communications and the future. The volume was put together in conjunction with the World Future Society’s Fourth General Assembly held in Washington, D. C., July 18-22, 1982. The papers herein are a selection of those submitted to an editorial review committee. The World Future Society: An Association for the Study of Alternative Futures, based in Bethesda, Maryland, then claimed 30,000 members in more than 80 countries, and described itself as a non-profit scientific and education organization for people interested in how social and technological innovations might influence the future.
Among the essays in this volume is John N. Pelton’s speculation about “The Future of Global Satellite Communications”; William E. Halal writing about “Information Technology and the Flowering of Enterprise”; and Richard M. Neustadt on “Politics and the New Media.” Several essays see problems with the new media including Howard F. Didsbury, Jr.’s “The Serpent in the Garden”; Tony M. Lentz’s “The Medium Is the Madness: Television and the Pseudo-Oral Tradition in America’s Future”; and Gerald M. Phillips, “The Decay of Purposive Communication.” computers magnetic recording utopianism telecommunications preservation politics libraries satellites archives history, and new media materials materials magnetic tape future and science fiction community democracy computers computers and the Internet non-USA history future communication revolution, and critics of critics democracy, and media information storage information storage, and new media libraries, and new media history, break with Japan Japan, and new media Brazil Brazil, and new media India India, and new media utopia, and computers computers, and utopia aeronautics and space communication satellites, and future future, and satellites future, and computers videotape videotex telecommunications, and rural areas politics, and new media World Future Society Neustadt, Richard communication revolution Didsbury, Howard F. Jr. Communications and the Future: Prospects, Promises, and Problems 400 Diebold, John Beyond Automation: Managerial Problems of an Exploding Technology New York McGraw-Hill Book Company
1964
Diebold was a specialist in automation and at the time of this book, president and chairman of the board of the Diebold Group, Inc. Of special interest is chapter 3, “The High Promise of Information Technology-- and Four Problems it Raises for Business.” Diebold believed that information technology was creating “entirely new families of machines, of which the electronic computer is only one.” He discusses the computer, electronic circuitry, advances in long-distance communication, improvement in data storage, networks of machines that retrieve information, and satellites. Such technology was not two decades old when he wrote in 1964, but “already over 15,000 computers and 2,500 tape controlled machines” were at work in the United States. He predicted that this new technology would create new kinds of organization and new businesses. The most significant consequences of automation, though, would be tremendous social change. “Buying patterns, consumption habits, and other social attitudes will be radically affected by the technology,” he contended.
Diebold saw four critical issues confronting business: 1) Businesses must replace their piecemeal approach to information technology with “an organized discipline of information systems.” 2) New professional classifications must be established to achieve these disciplined systems. 3) Future managers must receive education in information systems. 4) Business leadership must be aware of changes brought by automation.
In chapter 4, Diebold attempts to refute four myths about automation: 1) that it is usefully primarily as a labor-saving device; 2) that oil refineries and other process plants had already realized the ultimate in automation; 3) that because automated machinery was highly complex that most of the decisions regarding it should be left to experts -- technicians and engineers; 4) that only wealthy companies can afford to take advance of automation and information technology. computers integrated circuits transistors labor communication revolution archives office, and new media libraries labor libraries, and information storage general studies control revolution information age computers integrated circuits information storage data storage information storage long-distance communication satellites infrastructure communication revolution capitalism labor, and new media oil automation experts electronic media computers and the Internet capitalism, and new media labor aeronautics and space communication office Diebold, John Beyond Automation: Managerial Problems of an Exploding Technology 22230 Dietz, P. E. B. Harry R. R. Hazelwood Detective Magazines: Pornography for the Sexual Sadists? Journal of Forensic Science
1986
31 197-211 See also: violence See also: sexuality Park Elliott Dietz, an M.D. and Ph.D., was a member of the Meese Commission in 1985-86. He taught courses at the University of Virginia on Law and Psychiatry, and Crimes of Violence, and had published research in the Journal of Forensic Sciences about sexual sadism in detective magazines, a theme he traced back to the 17th century. Dietz thought most forms of pornography were “immoral” and corrupted the family and society’s moral fabric.A copy of this article appears in Final Report of the Attorney General's Commission on Pornography (1986), pp. 492-504. sexuality news and journalism books, periodicals, newspapers news and journalism pornography magazines pornography, and detective fiction media effects media effects, and pornography Meese Commission critics R. R. Hazelwood Detective Magazines: Pornography for the Sexual Sadists? 22930 Dietz, Park Elliott Statement of Park Elliott Dietz, M.D., M.P.H., Ph.D. Final Report of the Attorney General's Commission on Pornography Nashville, TN Rutledge Hill Press
1986
487-92 Park Elliott Dietz, an M.D. and Ph.D., was a member of the Meese Commission in 1985-86. He taught courses at the University of Virginia on Law and Psychiatry, and Crimes of Violence, and had published research in the Journal of Forensic Sciences about sexual sadism in detective magazines, a theme he traced back to the 17th century. Dietz thought most forms of pornography were “immoral” and corrupted the family and society’s moral fabric. But he stopped short of supporting a Commission resolution that called the family society’s most important unit because he believed that the government should not try to dictate ideal living arrangements. Attached to this Statement is Dietz's article on "Detective Magazines: Pornography for the Sexual Sadists?" (Jan. 1986). entertainment computers video cassette recorders (VCRs) post office government hearings entertainment, home magnetic recording photography women, and new media social science research values archives sexuality news and journalism books, periodicals, newspapers home entertainment government magnetic tape First Amendment media effects crime computers and the Internet color freedom values religion censorship and ratings law cable home home, and new media home Meese Commission hearings pornography motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects media effects, and pornography pornography, and media effects, pornography, defined children media effects, and children children, and pornography pornography, and children women women, and pornography pornography, and women religion, and pornography pornography, and religion personal computers personal computers, and pornography media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment pornography, and opponents pornography, and harmful effects crime, and pornography pornography, and crime magazines critics satellites children, and media Dietz, Park Elliott Statement of Park Elliott Dietz, M.D., M.P.H., Ph.D. 33760 Din, Allan M. The Prospects for Artificial Intelligence in Weapon and Arms Control Applications Allan M. Din, ed. Arms and Artificial Intelligence: Weapon and Arms Control Applications of Advanced Computing New York Oxford University Press
1987
3-29 This opening chapter offers an overview of artificial intelligence. "Most of this technology is new and many of its consequences, either beneficial or ptentially dangerous, still await detailed assessment," Nin says. Nin discusses the connection with the civilian sector and the weapon applications. He then covers computer hardware and software, and expert systems and AI. Nin notes that in 1986 that computer research was progressing much faster in the United States and NATO countries than in the USSR and Warsaw Pact nations. Advanced microelectronics accounted for this trend. In discussing weapon projects, Nin notes with the Strategic Computing Initiative, which in 1983 was to have a budget of $600 million, there were hopes that AI "could completely change many concepts of land warfare and the army force structure." (15) Nin also discusses AI relationship to the strategic defense initiative, weapons verification, and modeling and simulation programs. Nin's 72 endnotes give readers a good introduction to other published literature that existed in 1987 on artificial intelligence. R & D computers computers Soviet Union simulations strategic defense initiative (SDI) Reagan administration nationalism microprocessing Defense Advanced Research Projects Agency (DARPA) computers and the Internet artificial intelligence and biotechnology artificial intelligence strategic computing initiative aeronautics and space communication Reagan administration, and artificial intelligence Reagan, Ronald Reagan, Ronald, and computers military communication nationalism, and communication computers, and artifical intelligence military communication, and artificial intelligence nationalism, and computers DARPA Japan computers, and chips research and development USSR microelectronics microprocessors personal computers computers, personal war war, and artificial intelligence computers, and war war, and computers SDI Reagan administration, and SDA satellites computers, and simulations simulations, and computers non-USA Din, Allan M. The Prospects for Artificial Intelligence in Weapon and Arms Control Applications 33750 Din, Allan M. ed. Arms and Artificial Intelligence: Weapon and Arms Control Applications of Advanced Computing New York Oxford University Press
1987
This collection of papers by experts from six countries grew out of a 1986 workshop sponsored by the Stockholm International Peace Research Institute. The editor of this volume outlines this book in the Preface: "The importance of information technology in modern weapon systems is constantly growing. Since the beginning of the 1980s, artificial intelligence has become a significant part of this trend because of its potential applications in military decision-making. This book is a first attempt to present a broad overview of the prospects for information technology in general, and a machine intelligence in particular, in the context of international security.
"As it is often the case with a new and rapidly developing area, relevant material is quite scattered and inaccessible to non-specialists...."
"An overview of this prospects of artificial intelligence in weapon and arms control applications is presented in Part I. The workshop papers constitute Part II, III and IV of the book and provide a technical, strategic and political analysis of the dangers and promise underlying weapon and arms control applications of computers and artificial intelligence. Part II gives an introduction to basic aspects of artificial intelligence concepts and computer hardware. In Part III, military and strategic implications are discussed, including the Strategic Computing Program of the US Defense Advanced Research Projects Agency, the automated tactical battlefield, strategic defence systems and political perspectives. Finally, in Part IV, there is a description of arms control applications of information technology, and artificial intelligence, including verification, simulation, modelling and negotiation." (p. [iii])
The work has abstracts of each paper following the Table of Contents. R & D computers computers Soviet Union simulations strategic defense initiative (SDI) Reagan administration nationalism microprocessing Defense Advanced Research Projects Agency (DARPA) computers and the Internet artificial intelligence and biotechnology artificial intelligence strategic computing initiative aeronautics and space communication Reagan administration, and artificial intelligence Reagan, Ronald Reagan, Ronald, and computers military communication nationalism, and communication computers, and artifical intelligence military communication, and artificial intelligence nationalism, and computers DARPA Japan computers, and chips research and development USSR microelectronics microprocessors personal computers computers, personal war war, and artificial intelligence computers, and war war, and computers SDI Reagan administration, and SDA satellites computers, and simulations simulations, and computers bibliographies bibliographies, and AI non-USA Din, Allan M. ed. Arms and Artificial Intelligence: Weapon and Arms Control Applications of Advanced Computing 33220 Dinello, Daniel Technophobia!: Science Fiction Visions of Posthuman Technology Austin University of Texas Press
2005
With alarmist but insightful passion, Daniel Dinello traces society’s relationship with technology through the thinkers and scientists who made the world as we know and imagine it possibilities; and through the dreams and fears expressed in science fiction. Dinello confronts the techno-utopian possibilities continuously espoused by those who with full faith in the power of technology to make lives easier and humanity better prophesy a post-human transcendence out of nature and into immortal cyborgs and/or fully synthetic humanoids. Drawing extensive parallels between technophiles and (fundamentalist) Christians, Dinello like the sci-fi dystopia warns strongly against blind dependence on technology developed and controlled by military, corporate and government interests. He explores issues of control and dominance in the relation of humans to their technology, including science fiction parallels to real world slavery, racism, sexism and political oppression. Detailing current biological and mechanic human enhancements, he wonders where the lines are drawn to determine what constitutes human. Technophobia! explores the warnings of science fiction in regard to particular technological developments, including robotics, medical technology, gene manipulation (such as genetically engineered crops), replication (via cloning or nanobots) and infection (via biological or technological viruses); and, in an impressively wide-ranging cultural-literary analysis of popular works, Dinello reveals just how far from far-fetched science fiction has become.
--Dale Erlandson technology future cybernetics computers biotechnology Erlandson, Dale future and science fiction artificial intelligence and biotechnology cyborgs values values, and artificial intelligence values, and human nature computers and the Internet critics critics, and technology technology, and technophobia technology, and critics nanotechnology genetics infomatics second industrial revolution military communication nationalism and communication DARPA DARPA, and human enhancement values freedom democracy freedom, and artificial intelligence democracy, and artificial intelligence artificial intelligence, and values biotechnology, and freedom biotechnology, and democracy military communication, and biotechnology nationalism, and artificial intelligence biotechnology, and values biotechnology, and democracy biotechnology, and freedom nanotechnology values, and biotechnology freedom, and biotechnology democracy, and biotechnology biotechnology, and values artificial intelligence, and freedom artificial intelligence, and democracy military communication, and artificial intelligence nationalism, and biotechnology Defense Advanced Research Projects Agency (DARPA) nationalism technology and society Dinello, Daniel Technophobia!: Science Fiction Visions of Posthuman Technology 10860 Dinsdale, Alfred First Principles of Television New York Arno Press
1932, 1974
television, and history of television television, and origins television, and technology Dinsdale, Alfred First Principles of Television 2840 Divine, Robert A. The Sputnik Challenge New York Oxford University Press
1993
"The panicky response to Sputnik had long-lasting effects on American life," diplomatic historian Robert Divine writes. "It opened a debated over the state of education, science, space exploration, and national security that lasted well into the 1960s. ...In a sense, the anxiety raised by Sputnik did not end until Neil Armstrong and Buzz Aldrin took their historic steps in July 1969." Yet President Dwight Eisenhower was not particularly impressed by the Soviet's accomplishment in 1957. Eisenhower counseled "prudence and restraint" but failed to understand the uneasiness caused by Sputnik. This book focuses on Eisenhower's response to the Soviet satellite. It is based to a large degree on papers in the Dwight D. Eisenhower Library in Abilene, Kansas. R & D nationalism Kennedy, John F. Johnson, Lyndon Eisenhower, Dwight D. presidents, and new media research and development research and development war Kennedy administration Johnson administration satellites Eisenhower administration education Cold War war non-USA aeronautics and space communication Sputnik education, and Sputnik research and development, and government support research and development, and Sputnik nationalism and communication nationalism, and satellites Eisenhower, Dwight, and satellites satellites, and Dwight Eisenhower Kennedy, John F., and satellites Johnson, Lyndon, and satellites satellites, and Cold War Cold War, and satellites military communication military, and satellites Divine, Robert A. The Sputnik Challenge 29650 Dixon, Wheeler Winston Disaster and Memory: Celebrity Culture and the Crisis of Hollywood Cinema New York Columbia University Press
1999
Taking the death of Diana Spencer, Princess of Wales, as a starting point, examines the roots of celebrity culture. The book is “a series of extended meditations” about “the cult of celebrity, the nature of public surveillance, the role of the print and television media in shaping the words and images that form the fabric of our shared communal consciousness, and the role of the public as a coproducer of the wave of emotion surrounding Diana’s death.” The obsession that both members of the media and the public had over Princess Diana “are grounded in a cult of personality which has gradually overtaken the world as a congruent whole, brought together yet separated by global cable, broadcast and satellite networks, and international print publications which can service many different markets around the world simultaneously.” (Preface)
Dixon examines this topic from the 1950s, when television became a major presence in the lives of most Americans. He treats in depth the careers of “two somewhat marginalized” movie and TV personalities, Ida Lupino and Richard Carlson, and the efforts these two people made to recast their images. Dixon also attempts to assess how “televisual media (cable, videocassettes, instant print magazines and newspapers, pictures stored in digital memory and then recalled with the push of a button)” influence the way the public saw Prince Diana.
This 182-page book as a “Selected Bibliography” and Index, but no footnotes. celebrity video cassette recorders (VCRs) television motion pictures motion pictures, and celebrity culture celebrity culture news and journalism VCRs books, periodicals, newspapers advertising and public relations celebrity culture values television, cable cable, television digital media democracy democracy, and new media violence television, and violence violence, and television media effects print culture, and celebrity culture advertising cable print Dixon, Wheeler Winston Disaster and Memory: Celebrity Culture and the Crisis of Hollywood Cinema 12430 Dixon, Wheeler Winston The Second Century of Cinema: The Past and Future of the Moving Image Albany, N. Y. State University of New York Press
2000
See also: office This uneven book argues that “as a production medium, 16mm film is dead; 35mm may well follow within the next ten to fifteen years, signaling a significant shift in the production and reception process” of cinema. Film will be replaced by “a high-definition matrix of dots and pixels laser-projected onto a conventional theater screen,” a development readily accepted by audiences. Dixon believes that the multiplication of new movie making technologies – videos, film, tv programs, the Internet – will help to crumble international image boundaries and will in the near future lead to “an explosion of voices from around the globe, in a new and more democratic process that allows a voice to even the most marginalized factions of society.” These developments will challenged, if not overwhelm, Hollywood control over the narrative structure of entertainment.
Dixon’s opening chapter, “Voices from the Margins, and the New Digital Cinema,” discusses several out-of-the-mainstream films – e.g., Sex, Lies and Videotape (1989), Darren Aronofsky’s 16mm black-and-white film Pi, Steven Soderbergh’s color 16mm, low budget movie, El Mariachi (1992), Lisa Cholodenko’s High Art (1998), and others. Dixon’s treatment of some of these films (although not all) considers the movie technology used. “A new generation of video cameras may make conventional 35mm cinematography, if not obsolescent, at least a luxury, or perhaps an aesthetic choice for the filmmakers of the twenty-first century,” he writes. This chapter also includes discussion of nanotechnology and advances in surveillance cameras, and how the latter, in particular, has already started to challenge Hollywood narratives.
Chapter Two is entitled “Visions of the Gothic and Grotesque,” and Chapter Three is “Images of Conquest and the Colonialist Instinct.” Chapter Four, “The Commodofication of Desire, ... “ looks at the film career of black actor Paul Robeson and argues that Robeson’s films during the 1930s and 1940s failed to take advantage of his true talents, binding him instead to “a rigid social and racial stereotype.”
The final chapter, “The Past and the Future of the Moving Image,” covers several interesting themes. Dixon notes that Shakespeare’s Richard III is much more effective on film than on videotape (which gives the play an “immediate” look). A section is devoted to 16mm and 35mm industrial short films between the 1930s to the 1970s (now on CD-ROM). Another section deals with Roberto Rossellini color docudrama India (1958). Still other pages cover digital cinema and virtual reality. Increasingly works that had been marginalized are gaining a wider viewing. Dixon maintains that “it is impossible to hold back the flood of images created by these new technologies, and in the coming century, these images will both inform and enlighten our social discourse.” computers magnetic recording photography special effects motion pictures labor materials materials magnetic tape cinema motion pictures celluloid film digital media digitization law censorship and ratings censorship audiences 35mm 16mm motion pictures and popular culture digital cinema motion pictures, digital motion pictures, avant garde videotape film, 16mm film, 35mm film, color censorship, and motion pictures motion pictures, and censorship motion pictures, and new technology computers and the Internet photography and visual communication nanotechnology cameras, surveillance motion pictures, and surveillance cameras cameras, miniaturization camcorders motion pictures, independent motion pictures, low budget audiences, and motion pictures motion pictures, and audiences censorship, and new technology special effects, computer generated motion pictures, and special effects virtual reality television video imaging, and computer-generated video imaging, and digital 16mm film 35mm film digitization, and motion pictures capitalism, and 16mm film capitalism, and 35mm film labor, and 16mm film labor, and 35mm film 35mm film cameras capitalism film Dixon, Wheeler Winston The Second Century of Cinema: The Past and Future of the Moving Image 9400 Dizard, Wilson P. The Coming Information Age: An Overview of Technology, Economics, and Politics New York Longman
1989
; media effects; media convergence; mass media This book, though slightly out of date, is a fine resource for understanding the infrastructure and technology of new media, in addition to the political and economic system which supports it. Dizard begins by arguing that the key to political or economic security in the future is linked to information, and specifically being able to control and command the new information technologies. The United States gains much of its dominant position in the world from its advantage in this area. He believes that governmental support is a key to ensuring this position in the future.
One useful section of the book examines the physical makeup of the new computing and networking systems. Though the book is several years old, most of it is still relevant. The discussion of this technology is introductory, but thorough. Dizard also discusses the role of governmental regulation. He uses the example of the Bell system breakup to show that regulation can increase service and open the system to profitable competition. The major role of the government, however, is in promoting US interests overseas. American telecommunications businesses dominate the global market, often with help from government programs and incentives. Chapter 8 of this book is an excellent discussion of various means that are used to promote these businesses and the extent to which they have penetrated every market.
Dizard also provides a nice summary of the economics of the telecommunications industry. He discusses growing conglomeration, and argues that this is often needed to generate the large amount of capital that goes into research. Increased concentration of power and government assistance will help the US maintain this dominant position. He does recognize the social costs and the implications for the citizen, but downplays them.
--Rob Rabe R & D computers military communication labor research and development communication revolution community democracy capitalism non-USA office office, and new media office telecommunications networks media general studies Rabe, Rob democracy and media networks, and computers computers and the Internet critics media literacy infrastructure telecommunications, and overview communication revolution global communication capitalism, and new media research and development, and government support Dizard, Wilson P. The Coming Information Age: An Overview of Technology, Economics, and Politics 9660 Dizard, Wilson P. Television: A World View Syracuse, NY Syracuse University Press
1966
Dizard saw television as a "truly revolutionary" form of communication, one that was global in its reach. In 1966, he wrote: “By 1975, television will be an integral part of a vast international communications network built around computers and space satellites. These machines will provide any kind of data instantaneously in all parts of the world to meet the needs of the new information explosion. They will carry a dialogue of experts speaking the international language of technology, and that dialogue will affect the prospects for a more stable world order. Television can be the sight-and-sound interpreter of the dialogue, making it understandable to everyone. Properly used, television can be the forum of a new age of interdependence, the only mass medium fully capable of crossing geographical, cultural, and political barriers to link men and nations in an evolving world community.
The alternative is a world struggling to meet its informational needs largely through traditional means. This is a losing race. Books and other written materials reach no more than half the earth’s population. The other half is still functionally illiterate. Outside Europe, Japan, and the United States, newspapers are an insignificant media factor. The film medium has developed primarily as an entertainment spectacle. Only radio is still expanding at a rate which begins to match present-day mass communications needs.” computers nationalism journalism future and science fiction news and journalism non-USA Third World news networks television future aeronautics and space communication satellites satellites, and television Third World, and television global communication nationalism and communication newspapers networks, and international television computers and the Internet television, and computers radio Dizard, Wilson P. Television: A World View 2200 Dizard, Wilson P. and S. Blake Swensrud Gorbachev’s Information Revolution: Controlling Glasnost in a New Electronic Era [Washington, D.C.] Center for Strategic and International Studies/Westview Press
1987
This work, completed before the collapse of the Soviet Union, might be read in conjunction with other books that explore the relation between the fall of the USSR and new media such as Scott Shane’s Dismantling Utopia (1994), Gladys Ganley’s Unglued Empire (1996),and Manuel Castells’ End of Millennium (1998). USSR nationalism freedom law censorship and ratings non-USA information technology nationalism and communication Soviet Union, and collapse of information technology, and collapse of USSR freedom of expression, Soviet Union censorship, and Soviet Union Gorbachev, Mikhail Soviet Union censorship Soviet Union, and censorship Soviet Union, and new media Dizard, Wilson P. and S. Blake Swensrud Gorbachev’s Information Revolution: Controlling Glasnost in a New Electronic Era 42070 Doane, Mary Ann The Emergence of Cinematic Time: Modernity, Contingency, the Archive Cambridge, MA Harvard University Press
2002
The author writes: "This book is about the representability of time in the late nineteenth and early twentieth centuries. Photographic and cinematic technologies played a central role here precisely because they were so crucial to thinking that representability. Although popular accounts tended to endow the cinema with determinant agency -- that is, cinematic technology made possible a new access to time or its 'perfect' representation -- in fact the emerging cinema participated in a more general cultural imperative, the structuring of 3/4 time and contingency in capitalist modernity. Although the rupture here is not technologically determined, new technologies of representation, such as photography, phonography, and the cinema, are crucial to modernity's reconceptualization of time and its responsibility. A sea change in thinking about contingency, indexicality, temporality, and chance deeply marked the epistemologies of time at the turn of the last century. The reverberations of this break are still perceptible today in the continual conjunction of electronic technologies and questions of instantaneity and the archievability of time. As Andreas Huyssen points out, 'the issue of media ... is central to the way we live structures of temporality in our culture.' Film, television, and video are frequently specified by the term time-based media." (3-4) (italics in original text) history motion pictures motion pictures, and time time, and motion pictures motion pictures, and modernity time and timekeeping motion pictures, and capitalism capitalism capitalism, and timekeeping capitalism, and motion pictures motion pictures, and archives information storage information storage, and motion pictures history and new media history, and motion pictures motion pictures, and history Bergson, Henri, and motion pictures motion pictures, and Henri Bergson Benjamin, Walter photography photography, and time time, and photography motion pictures, and photography photography, and motion pictures motion pictures, and phonograph phonograph, and motion pictures television television, and time time, and television sound recording sound recording, and time time, and sound recording time, and motion pictures time, and television sound recording, and phonograph archives, and motion pictures archives Bergson, Henri phonograph Doane, Mary Ann The Emergence of Cinematic Time: Modernity, Contingency, the Archive 6720 Dobrow, Julia R. Patterns of Viewing and VCR Use: Implications for Cultivation Analysis Nancy Signorielli and Michael Morgan, eds. Cultivation Analysis: New Directions in Media Effects Research Newbury Park Sage Publications
1990
71-83 This piece contains useful information of VCR use from the 1960s through 1980s. The author seeks to answer the question whether VCR use, like television viewing, "tends to cultivate mainstream perspectives." The author does not define "mainstream." The study is based on two sets of interviews with VCR owners in the greater Boston area--one yielded a "total of more than 50 viewer profiles," the other of more than 500 people "interviewed through a random digital telephone survey, stratified by exchange." This is a rather thin piece, although the bibliography is of some value. entertainment video cassette recorders (VCRs) entertainment, home magnetic recording materials materials magnetic tape home, and new media home values home, and information technology information technology television television, and video recorders VCRs values, and VCRs information technology, and home television, and VCRs home, and VCRs home entertainment Dobrow, Julia R. Patterns of Viewing and VCR Use: Implications for Cultivation Analysis 22940 Dobson, James Personal Comments by Commissioner James Dobson Final Report of the Attorney General's Commission on Pornography Nashville, TN Rutledge Hill Press
1986
504-09 James C. Dobson, who held a Ph.D. in child development, was a member of the Meese Commission in 1985-86. He was a licensed psychologist and family counselor, and president of Focus on the Family, a California-based organization that produced a syndicated radio program. Dobson had written several books including Dare to Discipline (1970) and Hide or Seek (1979), the latter about self-respect in children. A devout Christian, he considered pornography harmful in many ways and felt that it threatened the “future of the family itself.” entertainment computers video cassette recorders (VCRs) post office government hearings entertainment, home magnetic recording photography women, and new media social science research values archives sexuality home entertainment government magnetic tape First Amendment media effects crime color freedom values religion censorship and ratings law cable home home, and new media home Meese Commission hearings pornography motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects media effects, and pornography pornography, and media effects, pornography, defined children media effects, and children children, and pornography pornography, and children women women, and pornography pornography, and women religion, and pornography pornography, and religion personal computers personal computers, and pornography media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment pornography, and opponents pornography, and harmful effects crime, and pornography pornography, and crime critics computers and the Internet magazines satellites children, and media Dobson, James Personal Comments by Commissioner James Dobson 22210 Dobson, James C. Dare to Discipline Wheaton, IL Tyndale House Publishers
[1970]
; media effects See also: media convergence See also: mass media See also: violence See also: sexuality James C. Dobson, who held a Ph.D. in child development, was a member of the Meese Commission in 1985-86. He was a licensed psychologist and family counselor, and president of Focus on the Family, a California-based organization that produced a syndicated radio program. Dobson had written several books including Dare to Discipline (1970) and Hide or Seek (1979), the latter about self-respect in children. A devout Christian, he considered pornography harmful in many ways and felt that it threatened the “future of the family itself.” values motion pictures media effects media Hollywood values religion censorship and ratings motion pictures and popular culture children children, and media media, and children Meese Commission religion religion, and Hollywood Hollywood, and religion motion pictures, and religion religion, and motion pictures pornography, and religion religion, and pornography media effects, and pornography critics pornography Dobson, James C. Dare to Discipline 22220 Dobson, James C. Hide or Seek Old Tappan, NJ Revell
c1979
See also media effects; media convergence; mass media; violence; sexuality James C. Dobson, who held a Ph.D. in child development, was a member of the Meese Commission in 1985-86. He was a licensed psychologist and family counselor, and president of Focus on the Family, a California-based organization that produced a syndicated radio program. Dobson had written several books including Dare to Discipline (1970) and Hide or Seek (1979), the latter about self-respect in children. A devout Christian, he considered pornography harmful in many ways and felt that it threatened the “future of the family itself.” values motion pictures media effects media Hollywood values religion censorship and ratings motion pictures and popular culture children children, and media media, and children Meese Commission religion religion, and Hollywood Hollywood, and religion motion pictures, and religion religion, and motion pictures pornography, and religion religion, and pornography media effects, and pornography critics pornography Dobson, James C. Hide or Seek 22900 Docherty, James Testimony to Attorney General's Commission on Pornography Attorney General's Commission on Pornography
Oct. 16, 1985
Oct. 16, 1985 Folder: "Los Angeles -- 10-16/85 (Part I)," Box 3, Records of the Attorney General's Commission on Pornography, RG 60 (Justice Dept. Records), National Archives and Records Administration (NARA II), College Park, MD James Docherty was a police captain who told the Meese Commission in 1985 about the extent of pornography in Los Angeles in mass media. He also said that he had never come across a snuff film. entertainment video cassette recorders (VCRs) government hearings entertainment, home magnetic recording archives sexuality media effects media violence violence home entertainment government videotape magnetic tape books, periodicals, newspapers home pornography pornography, and opponents pornography, and legal pornography, and distribution pornography, and new technology pornography, and 8mm pornography, and 16mm pornography, and adult bookstore books, adult bookstores VCRs VCRs, and pornography pornography, and VCRs pornography, and video stores hearings 8mm, and pornography 16mm, and pornography videotape, and pornography home entertainment revolution pornography, and home entertainment pornography, and video ads violence, and pornography snuff films pornography, and snuff films home, and new media 16mm 8mm books Meese Commission Docherty, James Testimony to Attorney General's Commission on Pornography 9040 Doheny-Farina, Stephen The Wired Neighborhood New Haven Yale University Press
1996
This work is a personal exploration and critique of the “virtual world.” Doheny-Farina urges the reader to stay connected to their real communities instead of abandoning it for virtual ones. The author does not believe technology to be necessarily detrimental, but believes its effects weaken the ties that individuals once had for the communities, families, co-workers, and friends.
--Mark Tremayne
 Doheny-Farina argues that digital technology has been a destabilizing force in community life. So far, Internet communications have led to a lessening of connection with geophysical space, and that digital communications are being substituted for public meetings in neighborhoods or localities. Citizens must search for ways to use technology to enhance public life rather than diminish it.
--Phil Glende computers nationalism digitization community democracy values computers and the Internet public sphere values, and computers Tremayne, Mark virtual reality community, and Internet nationalism and communication Glende, Phil community democracy and media community, and computers digital media democracy, and digital media Doheny-Farina, Stephen The Wired Neighborhood 20280 Doherty, Thomas Documenting the 1940s Thomas Schatz Boom and Bust: The American Cinema in the 1940s New York Charles Scribner's Sons
1977
397-421 This chapter is in Volume 6 in the History of American Cinema series, Charles Harpole, ed. Doherty discusses documentary films and also newsreels during the 1940s. In addition, he considers World War II and the use of 16mm cameras. newsreels journalism news and journalism war motion pictures and popular culture motion pictures motion pictures, and newsreels 16mm 16mm, and newsreels 16mm, and World War II World War II World War II, and 16mm film World War II, and newsreels news, and 16mm film television television, and newsreels newsreels, and television news Doherty, Thomas Documenting the 1940s 35080 Domhoff, G. William The Higher Circles: The Governing Class in America New York Random House
1970
The author describes his purpose as follows: "This book of empirically based essays is intended to deepen, extend and defend the picture of how America is governed that I presented in two previous works [Who Rules America? and C. Wright Mills and the Power Elite]. After a short introductin in which I show from our study of the social stratification literature that only a small percentage of it concerns the highest level of society, the four essays in the first section attempt to extend our understanding of the upper class as a social class. The three essays which compose the second section attempt to deepen our understanding of the upper class as a governing class; they explore the involvement of members and organizations of the upper class in the governing mental process. The third and final section, consisting of two essays, defends my views by contrasting them with those of pluraists and ultra-conservatives." (vii-viii)
Domhoff says that "the power elite ... try to influence public opinion through the formation of publicity committees composed of prominent private citizens.... In early 1958, President Eisenhower asked corporate executive, Eric Johnston, ... founder of CED [Committee for Economic Development] and a former president of the US Chamber of Commerce, to head a special White House meeting to convey information to the public on foreign policy aspects of national security. Johnston and his staff invited over 1,000 corporate, organizational, community and labor leaders to a one-day conference of meetings and speeches. Out of the conference came a new citizens' committee, the Committee for International Economic Growth (CIEG), charged with the reponsibility of carrying the conference's message to the entire populace." (152-3) Johnston was also at the time president of the Motion Picture Association of America. Motion Picture Association of America (MPAA) nationalism Eisenhower administration Johnston, Eric capitalism democracy democracy, and capitalism capitalism, and democracy MPAA Johnston, Eric, and MPAA MPAA, and Johnston advertising and public relations nationalism and communication presidents and new media Eisenhower, Dwight D. motion pictures motion pictures, and nationalism motion pictures, and foreign policy advertising Domhoff, G. William The Higher Circles: The Governing Class in America 410 Donnelly, William J. The Confetti Generation: How the New Communications Technology Is Fragmenting America New York Henry Holt and Company
1986
This work is on the order of Bill McKibben’s The Age of Missing Information. It is not footnoted, although it does have a bibliography. The author draws on Marshall McLuhan and David Riesman, among others. His focus starts with television. He discusses cable, the VCR during the 1960s and 1970s, and the VCR revolution which was underway during the mid-1980s. He also gives space to video games and the home computer. This “new media will cause a new kind of individualized cultural segmentation,” he says.
“The result will be the Confetti Generation, for the current Autonomy Generation does not possess the cultural tools to absorb such an explosion of information and entertainment, such an implosion of speed and remoteness.... We will witness an aggravated version of today when all ideas are equal, when all religions, life-styles, and perceptions are equally valid, equally indifferent, and equally undifferentiated in every way until given value by the choice of a special individual. This will be the Confetti Era, when all events, ideas, and values are the same size and weight....
“New technology in all of its forms will simply aggravate the confusion. Information will rain on us like confetti and become just as meaningless. The information we receive, isolated with our television sets, will be increasingly incomprehensible.”
Donnelly’s pessimism brings to mind Landon Winner’s chapter on “Mythinformation” in The Whale and the Reactor (1986).
--SV

Donnelly, a rare combination of academic and former vice president of Young & Rubicam, takes all of the emerging electronic technologies of communication and finds a similarly fragmenting effect. The overall impact of these technologies is to isolate Americans as individual consumers unable to form a conception of the common good, or even to identify issues of common concern. He works in some interesting notions about David Riesman’s “outer-directed” man of the second half of the twentieth century ironically seeking self realization and lapsing into a “culture of narcissism.” Television and related technologies, while having the potential to form a public of common interests, serve instead to exacerbate this tendency to turn inward.
--Gordon Jackson entertainment computers video cassette recorders (VCRs) entertainment, home magnetic recording values preservation home entertainment magnetic tape community democracy community home, and new media home home, and information technology information technology history general studies McLuhan, Marshall Riesman, David history, and television history, and new media television VCRs video games information technology, and home information v. knowledge myth critics computers and the Internet home, and new media community, and new media television, and cable home, and VCRs home, and video games home, and computers values, and new media Jackson, Gordon critics democracy and media values Donnelly, William J. The Confetti Generation: How the New Communications Technology Is Fragmenting America 22820 Donnerstein, Edward Testimony before the Attorney General's Commission on Pornography Attorney General's Commission on Pornography
Sept. 11, 1985
Sept. 11, 1985 Despite his earlier testimony in Minneapolis suggesting a strong connection between watching violent pornography and aggression toward women, in October, 1985, Donnerstein said that although he believed that sexually violent materials might change attitudes, there was no evidence to indicate that it changed people’s behavior. It was “impossible,” he said, to prove that pornography caused sexual crimes. “The evidence just isn’t that clear-cut.” Donnerstein felt that the opponents of pornography misused his research. A point often missed was his finding that images showing women who did not enjoy being raped failed to arouse most men. Moreover, simply erotic images – explicit non-violent, non-degrading depictions – did not produce aggressive behavior. He told the Houston panel that “it was really the violent component in violent pornography which was the issue, not the sexual nature of the material.” But even in considering violent materials, one had to be careful about what conclusions could be drawn. This testimony can be found in Folder: "Houston -- 9/11/85 (Part I)," Box 2, RG 60 (Justice Dept. Records), National Archives and Records Administration (NARA 2), College Park, MD government hearings media effects, and pornography women, and new media social science research archives sexuality motion pictures government women feminism censorship and ratings law censorship and ratings motion pictures and popular culture motion pictures, and pornography pornography social science research, and pornography pornography, and social science research pornography, nonviolent Meese Commission hearings media effects media effects, and nonviolent pornography children children, and pornography pornography, and children pornography, and opponents pornography, and harmful effects women women, and pornography censorship feminists feminists, and pornography pornography, and women pornography, and feminists feminists, and censorship censorship, and feminists violence children, and media Donnerstein, Edward Testimony before the Attorney General's Commission on Pornography 22810 Donnerstein, Edward [Testimony] Public Hearings on Ordinances to Add Pornography as Discrimination against Women
Dec. 12, 1983
Dec. 12, 1983 Session I, Minneapolis, MN In December, 1983, Edward Donnerstein, a professor in the Communication Arts Department at the University of Wisconsin, Madison, testified at the public hearing in Minneapolis in December, 1983, where the Catharine MacKinnon and Andrea Dworkin’s anti-pornography ordinance was being considered. Donnerstein stated that many men were aroused by depictions of women enjoying rape and other forms of aggression. Even short exposures of five to ten minutes could affect the attitudes of “very normal types of males” and make them more inclined to accept myths about rape. If one assumed that children learned “from Sesame Street how to count one, two, three, four, five, believe me,” he said, “they can learn how to pick up a gun and also learn ... about male/female relations.” If you could “measure sexual arousal to sexual images” and measure what attitudes males had about rape, you could “predict aggressive behavior with women, weeks and even months later,” Donnerstein suggested. Indeed, some researchers would argue, he said, that the connection between watching some kinds of violent images and callous and aggressive behavior toward women was “much stronger statistically than the relationship between smoking and cancer.”
This testimony can be found in Folder 15, Box 69, Records of the Attorney General's Commission on Pornography, RG 60 (Justice Dept. Records), National Archives and Records Administration (NARA II), College Park, MD. government hearings media effects, and pornography women, and new media social science research archives motion pictures and popular culture motion pictures media effects sexuality violence magazines news and journalism books, periodicals, newspapers magazines government women feminism law censorship and ratings motion pictures and popular culture motion pictures, and pornography pornography social science research, and pornography pornography, and social science research pornography, nonviolent Meese Commission hearings media effects media effects, and nonviolent pornography children children, and pornography pornography, and children pornography, and opponents pornography, and harmful effects women, and pornography censorship feminists feminists, and pornography pornography, and women pornography, and feminists feminists, and censorship censorship, and feminists pornography, and Minneapolis Dworkin, Andrea MacKinnon, Catharine children, and media Donnerstein, Edward [Testimony] Public Hearings on Ordinances to Add Pornography as Discrimination against Women 26690 Donnerstein, Edward//Daniel Linz //Steven Penrod The Question of Pornography: Research Findings and Policy Implications New York The Free Press
1987
See also: violence See also: sexuality This book synthesizes research on media effects and pornography, and discusses implications that those findings might have on policy making. social science research sexuality pornography motion pictures media effects media violence violence law censorship and ratings censorship motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography censorship, and motion pictures motion pictures, and censorship social science research, and pornography pornography, and social science Donnerstein, Edward violence, and pornography pornography, and violence media effects media effects, and pornography pornography, and media effects television television, and violence television, and pornography television, and media effects media effects, and violence media effects, and television media effects, and motion pictures violence, and television violence, and motion pictures pornography, and television Donnerstein, Edward//Daniel Linz //Steven Penrod The Question of Pornography: Research Findings and Policy Implications 1240 Donnerstein, Edward and G. Barrett Effects of Erotic Stimuli on Male Aggression Toward Females Journal of Personality and Social Psychology
1978
36 2 180-88 See also: violence See also: sexuality Pornography and aggression have oft been linked by scholars and critics alike. As a result, they are often examined in tandem. This study looks at the effects exposure to erotic films has on subjects likelihood to aggress against a confederate (a pseudo-participant planted by the experimenters). A total of 72 male subjects were used in this procedure. The subjects were part of a 2 x 2 x 2 design manipulating anger (anger or no anger), film-type (erotic or neutral), and target of aggression (male or female). To facilitate anger subjects were graded either favorably or poorly on a mock writing assignment. Donnerstein and Barrett found that subjects who were angered prior to exposure to the erotic stimuli indicated the likelihood to aggress toward the confederate. Non-angered subjects did not demonstrate this effect. The major implication of this study is that an individual’s cognitive or behavioral state before exposure to pornography is an indicator of how they will act after exposure. These findings corroborate the findings of Malamuth and Check (1983 & 1985) in that there are conditions that exist prior to exposure that may indicate post-exposure behavior. Furthermore, this study demonstrates the impact of exposure to filmed sexual acts whereas the Malamuth and Check studies utilized audiotapes.
--Michael Boyle women, and new media women social science research sexuality motion pictures media effects media violence violence Boyle, Michael pornography media effects pornography, and rape myths violence, and pornography pornography, and violence women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects media effects, and violence media effects, and motion pictures Donnerstein, Edward and G. Barrett Effects of Erotic Stimuli on Male Aggression Toward Females 12940 Dougherty, D. Cardinal D. Cardinal Dougherty Papers (?) Archdiocese of Philadelphia, Archives and Historical Collections
1930s?
Archdiocese of Philadelphia, Philadelphia, PA These papers are helpful in studying the response of the Roman Catholic Church in Philadelphia, and more generally in the United States, to motion pictures. Cardinal Dougherty was highly critical of movies he deemed to be immoral, and he played an important role in the creation of the Roman Catholic Legion of Decency which asked the faithful to pledge that they would boycott offensive films. values Christianity values archives motion pictures religion values morality law censorship and ratings censorship Legion of Decency Catholic Church censorship, and motion pictures motion pictures, and censorship Dougherty, D. Cardinal morality, and motion pictures motion pictures, and morality motion pictures, and critics values, and motion pictures motion pictures, and values values, and new media values critics Dougherty, D. Cardinal D. Cardinal Dougherty Papers (?) 23920 Dougherty, Philip H. Hill & Knowlton to Buy Gray, the Lobbyists New York Times
June 4, 1986
D 1D This article gives background to the public relations firms of Hill & Knowlton and Gray & Co. Opponents of the Meese Commission, which had been created during the Reagan administration to study pornography, used Gray & Co. to discredit the Commission's Report and recommendations. Part of the strategy involved portraying the Commission members as moral vigilantes and enemies of the First Amendment. corporations corporations corporations advertising, and public relations propaganda advertising sexuality news and journalism books, periodicals, newspapers Hill & Knowlton First Amendment freedom Meese Commission Meese Commission, and critics Gray & Company public relations pornography pornography, and public relations public relations, and pornography Meese Commission, and public relations Meese Commission, and Gray & Company First Amendment, and public relations public relations, and First Amendment Gray & Company, and Meese Commission Americans for Constitutional Freedom magazines magazines, and public relations Hill & Knowlton, and Gray & Company Gray, Robert Keith critics Dougherty, Philip H. Hill & Knowlton to Buy Gray, the Lobbyists 780 Douglas, Sara U. Labor's New Voice: Unions and the Mass Media Norwood, NJ Ablex Publishing
1986
See also: office Douglas examines the public relations efforts of the AFL-CIO and four key unions: the UAW, IAM, AFSCME, and the ILGWU. Douglas also outlines three pro-labor media campaigns: the UFW’s grape strike, the ACWA’s boycott of Farah, the United Labor Committee’s right to work campaign; and she provides a detailed study of the ACTWU’s campaign against J.P. Stevens. The Stevens campaign is examined using a protest communications model to offer a strategy of how labor might be more effective in public relations. Douglas briefly describes the efforts of the unions using the labor press and some radio public affairs programming before the merger in the mid-1950s. She noted that unions grew more assertive in issue and advocacy advertising after the merger. “Few avenues have been overlooked in labor’s attempt to inform and persuade its audiences. Newspapers, radio, and television utilization is regarded as essential by many labor leaders today. And although a few unions have used various new communications technologies almost as soon as they became available, many labor officials remain disappointed in the quality and results of labor’s communications programs.” In the late 1950s, the AFL-CIO sponsored two network news programs, with hosts Edward P. Morgan and John W. Vandercook. In addition, broadcast rules gave unions access to free air time for public service announcements. The federation increased its public relations budget in 1957 in response to adverse publicity from a congressional investigation of union leadership. Spending for television was increased from under $10,000 in 1955-56, to more than $250,000 in 1957-58. A series of 15-minute films, Americans at Work, were produced for weekly use on television. Even with a budget cut for radio programming, the AFL-CIO spent nearly twice as much for radio that year. A total of 104 films were produced between 1958 and 1960 and they were shown on television until 1967. No comparable television production effort occurred until the Labor Institute for Public Affairs was created in 1982. LIPA created a 12-part television series, America Works. LIPA also began producing spot television advertising, started a videocassette news service, distributed an information bulletin on electronic media, and invested in cable television. Douglas noted that ILGWU also produced a “Hollywood-type” film, With These Hands, in 1950 using the same writer who produced the successful play Pins and Needles in the 1930s. The IAM also produced public relations films for general audiences, such as My Dad J.R., as well as films for lodge meetings, such as Anatomy of a Lie, a documentary intended to counter an anti-union film about a strike. The IAM also pioneered in cable television, using a satellite in 1979 for a nationwide showing of a labor film followed by an audience call-in program. AFSCME used a satellite transmission service in 1980 for the Labor News Network, which distributed news and features to television and radio stations and cable systems. Douglas concludes that organized labor has become more active and more aggressive in public relations, and that labor is improving its chances of communicating its message.
-- Phil Glende advertising, and public relations propaganda advertising journalism satellites news and journalism Glende, Phil labor radio television labor, and television television, and labor radio, and labor labor, and radio labor, and print media newspapers, and labor public relations labor, and public relations public relations, and labor labor, and newspapers Labor News Network news associations, labor aeronautics and space communication labor, and satellites satellites, and labor news labor, and cable television news newspapers Douglas, Sara U. Labor's New Voice: Unions and the Mass Media 6460 Douglas, Susan J. Amateur Operators and American Broadcasting: Shaping the Future of Radio Joseph J. Corn, ed. Imagining Tomorrow: History, Technology, and the American Future Cambridge, MA MIT Press
1986
35-57 Many predictions about radio at the turn-of-the-century did not come true, Douglas says. "They had been based on a misunderstanding of how the invention worked, and they assumed that radio, by itself, could change the world. Yet even dreams that do not come true can have an effect. By encouraging and romanticizing the amateurs' hobby, these visions fostered experimentation among members of a subculture who had neither a corporate nor a political agenda. The predictions also articulated and reinforced the belief that this technology could and should be accessible to the greatest number of Americans." entertainment entertainment, home home entertainment future and science fiction community democracy non-USA home, and new media home values radio home, and information technology information technology radio radio, and amateur operators future democracy and media capitalism, and radio values, and amateur radio information technology, and home global communication aeronautics and space communication Marconi, Guglielmo wireless communication wireless telegraphy capitalism future, and radio democracy and media democracy, and radio radio, and democracy Douglas, Susan J. Amateur Operators and American Broadcasting: Shaping the Future of Radio 5280 Douglas, Susan J. Inventing American Broadcasting, 1899-1922 Baltimore Johns Hopkins University Press
1987
This book grows from the author's interest in American studies and the history of technology. She examines the origins of the American broadcasting system. She looked first to the 1920s, but realized that this decade "was hardly the beginning; nor was this era, in the end, the most interesting to me. As I kept going back in time ... I was struck by how the basic questions surrounding broadcasting's role in society were raised decades before radio broadcasting as we know it began. It was also struck by how many precedents were set before KDKA ever went on the air. Thus, I chose to examine in detail what has sometimes been dismissed as broadcasting's 'pre-history,' and to argue that it was during this period between 1899 and 1922 that the basic, technological, managerial, and cultural template of American broadcasting was cast."
The author's nine chapters are entitled: "Marconi and the America's Cup: The Making of an Inventor-Hero, 1899," "Competition over Wireless Technology," "The Visions and Business Realities of the Inventors, 1899-1905," "Wireless Telegraphy in the New Navy, 1899-1906," "Inventors as Entrepreneurs... 1906-1912," "Popular Culture and Populist Technology: The Amateur Operators, 1906-1912," "The Titanic Disaster and the First Radio Regulation, 1910-1912," "The Rise of Military and Corporate Control, 1912-1919," and "The Social Construction of American Broadcasting, 1912-1922." U. S. Navy technology R & D heroes corporations corporations Roosevelt, Theodore presidents, and new media news and journalism research and development war innovation government materials community democracy law war non-USA World War I telegraph regulation radio press Germany radio democracy and media wireless communication radio, and amateur operators radio, and crystal wireless communication, and crystal wireless communication, and amateur operators inventors inventions Marconi, Guglielmo military communication technology and society technology, and popular culture Titanic regulation, and radio radio, and regulation radio, and corporate control radio, and capitalism heroes, as inventors inventors, as heroes U. S. Navy, and wireless communication radio, and U. S. Navy AT & T radio, and continuous waves De Forest, Lee Fessenden, Reginald audion General Electric Company National Electric Signalling Company (NESCO) press, and amateur radio operators amateur radio operators, and press Radio Act of 1912 Roosevelt, Theodore, and wireless communication World War I, and radio radio, and World War I telegraph, wireless wireless telegraphy capitalism, and radio capitalism censorship and ratings materials Roosevelt, Theodore administration Douglas, Susan J. Inventing American Broadcasting, 1899-1922 6200 Douglas, Susan J. Where the Girls Are: Growing Up Female with the Mass Media New York Times
1994
women, and new media women values motion pictures television women, and mass media values, and media women Douglas, Susan J. Where the Girls Are: Growing Up Female with the Mass Media 16700 Douglas, William O. William O. Douglas Papers Container 1182 The Papers of U. S. Supreme Court Justice William O. Douglas have drafts of opinions that related to freedom of expression, motion pictures, and other media. These papers are in the Container 1182 of the Douglas Papers, Library of Congress, Washington, D. C. U. S. Supreme Court motion pictures, and religion self-regulation Roth case (1957) Production Code Burstyn v. Wilson obscenity, and Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives values obscenity freedom values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases court cases, Miracle case court cases, First Amendment Burstyn, Joseph Miracle case Production Code, and decline of freedom, and motion pictures motion pictures, and freedom movies, and religion motion pictures, and religion sacrilege, and Supreme Court (U. S.) Supreme Court (U. S.), and sacrilege archives Roth v. U. S. (1957) Supreme Court (U. S.), and Roth v. U. S. (1957) Roth case (1957) (1957), and Supreme Court (U. S.) Roth v. U. S. (1957) obscenity, and Supreme Court (U. S.) definitions Douglas, William O. William O. Douglas Papers 41220 Dow, J. S. The Effect of Light of Different Colors on Visual Acuity Illuminating Engineer
Aug., 1909
4 6 315-19 motion pictures lighting motion pictures, and lighting lighting, and motion pictures color color, and lighting lighting, and color Dow, J. S. The Effect of Light of Different Colors on Visual Acuity 28690 Downey, Greg Telegraph Messenger Boys: Crossing the Border Between History of Technology and Human Geography The Professional Geographer
2003
55 2 134-45 See also: office Downey writes that "historians of telegraphy have traditionally focused on the system-builders who invented wire communications technologies and incorporated them into profit-making enterprises. Geographers of communication have traditionally traced the changes that the telegraph network wrought on the rank-size of cities and the speed of business. Both have ignored the history of the telegraph messenger boys and the 'lived geography' of the telegraph network. This article summarizes a study of telegraph messengers as both active components of technological systems and laboring agents within produced urban spaces, bringing together the fields of both history of technology and human geography." technology post office telegraph office, and new media office labor labor and new media telephones telegraph, and messenger boys networks, and telegraph postal service postal service, and telegrams labor, and messenger boys geography space (spatial) labor, and geography geography, and labor urban studies technology and society geography, historical capitalism networks Downey, Greg Telegraph Messenger Boys: Crossing the Border Between History of Technology and Human Geography 28680 Downey, Greg Virtual Webs, Physical Technologies, and Hidden Workers: The Spaces of Labor in Information Internetworks Technology and Culture
April 2001
42 2 209-35 See also: office Downey writes that “paradoxically, the more the Internet grows in scale and scope, the more its virtual attractions obscure its physical foundation. Those crucial internetworkers become visible in the historical record only when three separate processes – technological innovation, the production of space, and the daily performance of labor – are considered simultaneously. Thus, revealing such work offers a unique opportunity (and challenge) for interdisciplinary cooperation between historians of technology, human geographers, and sociologists and anthropologists of work. In this article I hope to illustrate the possibilities offered by such collaboration by again juxtaposing two apparently different but fundamentally related images: the analog internetwork of a century ago and the digital internetwork under construction today. The crucial question, though, is not whether the telegraph, telephone, and Post Office were equivalent to today’s Internet, but rather whether analyzing those three networks as an internetwork – in which the whole is more than the sum of its parts – can lead to a better understanding of today’s Internet.” (211) computers post office computers and the Internet telegraph office, and new media office labor labor and new media telephones telegraph, and messenger boys networks, and telegraph postal service postal service, and telegrams labor, and messenger boys geography space (spatial) networks, analogy networks, digital analog v. digital Internet, and labor labor, and Internet Internet capitalism analog media networks Downey, Greg Virtual Webs, Physical Technologies, and Hidden Workers: The Spaces of Labor in Information Internetworks 28670 Downey, Gregory J. Telegraph Messenger Boys: Labor, Technology, and Geography, 1850-1950 New York and London Routledge
2002
See also: office Downey examines the critical importance of messenger boys in the spread and use of the telegraph in the United States. “Information networks are inevitably socially constructed technological systems,” Downey says. He argues that “the technological network of the telegraph was more than just a combination of electromechanical systems; it was also a combination of systems of labor, in which messenger boys served different functions at different moments – sometimes working as technological components themselves, sometimes being sold as commodities along with the telegrams they carried, and sometimes acting as agents of change within the technological network itself. Messengers were not simply rendered obsolete by the slow and steady advance of technology – whether in telegraphy, telephony, or airmail. Instead, over the course of a century, they both cooperated in maintaining their usefulness to the telegraph, and fought to change their relationship to the telegraph in a way that would ultimately bring about their own exit from the industry.” (7) This book grew out of a 2000 doctoral thesis in two separate departments – the Department of History of Science, Medicine and Technology, and the Department of Geography and Environmental Engineering – at the Johns Hopkins University. technology corporations post office corporations corporations telegraph office, and new media office labor labor and new media telephones telegraph, and messenger boys networks, and telegraph postal service postal service, and telegrams Western Union Telegraph Company AT&T labor, and messenger boys geography space (spatial) labor, and geography geography, and labor urban studies technology and society geography, historical capitalism networks Western Union Downey, Gregory J. Telegraph Messenger Boys: Labor, Technology, and Geography, 1850-1950 33470 Downing, J. Spencer What TV Taught: Children's Television and Consumer Culture from Howdy Doody to Sesame Street University of North Carolina, Chapel Hill
2003
Abstract for the Ph. D. thesis from UMI ProQuest Digital Dissertations: " This dissertation traces the history of children's programming during the first two decades of commercial television broadcasting. Children's programming serves as a lens through which to see interactions between industry, critics and audience as they grappled over television's proper approach to children. It complicates our understanding of the television industry by showing how broadcasters and marketers struggled to make children's audiences commercially viable. It also examines the complex responses to the medium among a public growing increasingly uneasy about children's use of television even as it became more entrenched in everyday American life. The history of children's television illuminates the changing nature of American childhood, too. Whereas Victorian ideals once constructed children as removed from the pressures of the market, by the late 20th century most Americans considered market participation to be a natural part of childhood. Television accelerated this transformation. The medium gave marketers unprecedented ability to teach children the manners and mores of consumer culture, awakening in them previously unfelt needs and coaching them in specifying their desires. Television taught businesspeople to cultivate children as a market segment. Likewise, the industry's critics went through a learning process as they discovered means for understanding and attempting to counteract what they perceived as television's dangers. The analysis proceeds chronologically. Early chapters discuss the rationale behind 'loss leader' children's programs such as Howdy Doody, Kukla, Fran and Ollie, Ding Dong School and Captain Kangaroo in television's infancy. They also examine high hopes parents, educators, government officials and others concerned with children's issues placed on television. Later chapters explain how children's programming became profitable, especially with the rise of low-budget cartoons, and examine how children's advocates struggled to come to terms with the ubiquitous medium. The final chapters give extended attention to the creation of <italic>Sesame Street</italic>. Arguably the world's most important children's program, Sesame Street holds special interest because its creators believed advertising techniques had become the most effective means to educate children. Just as toy companies used television to sell toys, Sesame Street used it to 'sell' knowledge." children children values television television, and children children, and television media effects media effects, and children children, and media effects capitalism capitalism, and television capitalism, and children advertising and public relations advertising, and children children, and TV advertising advertising capitalism children, and media Downing, J. Spencer What TV Taught: Children's Television and Consumer Culture from Howdy Doody to Sesame Street 36580 Downing, Michael Spring Forward: The Annual Madness of Daylight Saving Washingtn, D. C. Shoemaker & Hoard
2005
This 202-page book examines the contentious political controversies in the United States and Europe surrounding the adopting of daylight saving time. The author uses congressional hearings, newspaper accounts, records of town meetings, and letters to editors to look at the arguments of both proponents and opponents of daylight saving. The work, written for a popular audience, has a brief essay on sources (171-3), notes, and index. time and timekeeping time standard time advertising communication revolution labor timekeeping, and clocks war World War I motion pictures timekeeping time clocks railroads transportation communication revolution transportation revolution standard time, and origins capitalism timekeeping, and factories Taylorism clocks, mechanical timekeeping, and commerce timekeeping, and watches motion pictures, and timekeeping timekeeping, and motion pictures motion pictures general studies timekeeping, and daylight savings World War I, and daylight savings time telegraph propaganda timekeeping, and railroads railroads, and timekeeping labor, and timekeeping non-USA Great Britain Great Britian, and timekeeping timekeeping, and Great Britain Europe Europe, and timekeeping timekeeping, and Europe advertising and public relations Downing, Michael Spring Forward: The Annual Madness of Daylight Saving 9670 Downs, Donald A. The New Politics of Pornography Chicago University of Chicago Press
1989
This book is both a legal analysis of First Amendment law with regard to the censorship of objectionable materials and also a historical analysis of attempts in the United States to limit pornography without violating basic First Amendment protections. Downs specifically studies the attempts of Minneapolis and Indianapolis to pass city anti-pornography ordinances during the 1980s. Downs observes that these ordinances marked a new kind of censorship. In the past, according to Downs, almost every attempt to censor came from the right of the political spectrum. Conservatives have often used this kind of law to block objectionable or "radical" material. However, the motivation behind the censorship discussed in this book came from the left, opening up the concept of "progressive" censorship. Much of the philosophy and terminology in these cases came from left feminist activists who viewed pornography as harmful to women and as a means of subjugation. They believe that it would be fair to censor such material because it caused harm. In his analysis, Downs correctly notes that the restrictions on the First Amendment can only be applied in a content- neutral manner and he is highly critical of the Minneapolis and Indianapolis ordinances and the implications such laws would have for freedom of expression.
Much of the book is dedicated to legal theory and First Amendment philosophy. Downs explains carefully the way in which the courts have interpreted the First Amendment and how it should be applied in cases like these. He also discusses the possibility of creating a class of materials which would fall outside of First Amendment protection. The Supreme Court has already established certain categories of speech and expression which are not protected, including libel, obscenity and "fighting words." Downs sums up some of the recent scholarship on the links between pornography, sex crimes and harassment. Ultimately, he argues that the relationship between general, non-violent pornography and violence toward women is unclear, but that a clear link does exist between the violent pornography and sexual violence toward women. It is this kind of pornography that arguably could be censored, but it cannot be done with ordinances of the kind discussed in this book. As he notes, it is very difficult to craft a law that bans one kind of expression without endangering the constitutionally protected freedoms we all cherish. This book provides background to the legal aspects of censorship and to interpreting the political motivations behind attempts at censorship. This study of the development of pornography law in the United States is useful to historians and other scholars.
--Rob Rabe

 This book examines pieces of legislation, one in Minneapolis, the other in Indianapolis, to suppress pornography. The legislation was authored by prominent feminist activists, Catharine MacKinnon and Andrea Dworkin. In Minneapolis, the mayor vetoed the legislation; in Indianapolis, a local federal judge struck down the law on grounds that it violated the First Amendment.
The Minneapolis ordinance "respresented a new approach to the restiction of erotic materials, defining pornography as 'the sexually explicit subordination of women, graphically or in words.' Treating pornography as 'discrimination against women,' it was to be administered by the city's Civil Rights Commission rather than by the Criminal Justice Division, the traditional unit of enforcement. This approach departed from the legal treatment of sexual materials that has prevailed for more than a century in the United States. Where previous 'obscenity law' forcused on alleged moral harms wrought by certain sexual materials, the new ordinance postulated a social relationship between pornography and the systematic oppression of women. And where obscenity doctrine held back from designating sexually explicit materials as obscene if its dominant theme gave it 'serious literary, artistic, political, or scientific value,' the new ordinance admitted no such delimitation in determining whether a work was pornographic."
--SV video cassette recorders (VCRs) magnetic recording women, and new media regulation sexuality magnetic tape women feminism freedom law censorship and ratings censorship and ratings censorship law censorship and ratings pornography pornography, and First Amendment First Amendment, and pornography law, and pornography women, and pornography pornography, and feminists feminists, and pornography pornography, and Minneapolis pornography, and Indianapolis MacKinnon, Catharine Dworkin, Andrea motion pictures and popular culture motion pictures motion pictures, and pornography motion pictures, and First Amendment pornography, and motion pictures women VCRs values regulation motion pictures law motion pictures and popular culture censorship, and pornography pornography women, and pornography regulation, and pornography First Amendment children, and media values, and pornography law, and pornography VCRs, and pornography motion pictures, and theaters censorship children censorship, progressive Rabe, Rob Downs, Donald A. The New Politics of Pornography 33940 Doyle, Jon Thomas Dean, et al. Strategic Directions in Artificial Intelligence ACM Computing Surveys
Dec. 1996
28 4 653-70 The authors note that "AI has undergone a sea-change in the general character of its research methodology since about 1980, partly through progress on its problems of formulation, and partly through increasing integration with related areas of computing research and other fields." (655) The conclude: "As a field, AI embarks on the next fifty years excited about the prospects for progress, eager to work with other disciplines, and confident of its contributions, relevance, and centrality to computing research." (669) R & D computers Reagan administration artificial intelligence and biotechnology computers and the Internet strategic computing initiative Reagan administration, and artificial intelligence presidents and new media education computers, and education education, and computers military communication military communication, and strategic computing initiative supercomputers artificial intelligence robotics research and development computers Thomas Dean, et al. Strategic Directions in Artificial Intelligence 4360 Doyle, William Inside the Oval Office: The White House Tapes from FDR to Clinton New York Kodansha International
1999
Doyle discusses how American presidents beginning with Franklin Roosevelt recorded conversations in the Oval Office. The work is long on political history, but information about the recording technology used is also discussed in these pages. The author begins by discussing FDR's authorization to J. Edgar Hoover in May, 1940, to use "listening devices" against person suspected of espionage or subversion. Roosevelt used an ancestor to the tape recorder, a "Continuous-film Recording Machine," which he had installed in August, 1940. It was a gift from David Sarnoff of RCA. It could run for 24 hours unattended. The quality of Truman's recordings is very poor. Eisenhower used dictabelts and the sound reproduction is also poor. John F. Kennedy, in summer, 1962, installed the first full-scale secret recording network in the White House, turning the office "into a private recording studio." Kennedy, and brother Robert, also began electronic surveillance of their political enemies, reporters, and some staff members. corporations Kennedy, John F. Johnson, Lyndon Ford, Gerald Eisenhower, Dwight D. Carter, Jimmy magnetic recording Roosevelt, Franklin D. Nixon, Richard presidents, and new media law, and privacy law magnetic tape surveillance Reagan, Ronald Reagan administration privacy sound recording sound recording, and White House surveillance, and White House surveillance, electronic electronic surveillance, and FBI sound recording, and Franklin Roosevelt sound recording, and Harry Truman sound recording, and Dwight Eisenhower sound recording, and John Kennedy sound recording, and Lyndon Johnson sound recording, and Richard Nixon sound recording, and Gerald Ford sound recording, and Jimmy Carter sound recording, and Ronald Reagan Reagan administration, and sound recording sound recording, and George H. W. Bush sound recording, and William Jefferson Clinton privacy, and sound recording sound recording, and Henry Kissinger RCA Sarnoff, David electronic media magnetic recording magnetic recording, and White House Roosevelt, Franklin administration Truman administration Eisenhower administration Kennedy administration Johnson administration Nixon administration Carter administration Ford administration Reagan administration Roosevelt, Franklin, and tape recording Truman, Harry, and tape recording Eisenhower, Dwight, and tape recording Kennedy, John F., and tape recording Johnson, Lyndon, and tape recording Nixon, Richard, and tape recording Ford, Gerald, and tape recording Carter, Jimmy, and tape recording Reagan, Ronald, and tape recording Truman, Harry Doyle, William Inside the Oval Office: The White House Tapes from FDR to Clinton 38560 Drake, Frank C. The Illustration of Newspapers Current Literature
Sept. 1897
22 3 230-34 The author says that although Joseph Pulitzer's New York World was the "first newspaper to print picture regularly," there were about fifty newspapers that "were printing semi-news picture 'syndicated' from New York" (230) before Pulitzer ever acquired the World. James Gordon Bennett illustrated the Herald and Albert Pulitzer illustrated the New York Morning Journal "profusely" when he purchased it. (230) Certainly by the 1890s, newspaper publisher realized that picture could create circulation booms. The World, which the author argues "founded its success on the introduction of pictures," increased its circulation from 114,705 in 1885, to 713,318 in 1897. (231)
"It was not until the newspapers began to maintain their own photo-engraving plants, as they did in a very few years, that we began to have many important news-pictures," Drake says. These private plants made possible many more illustrations and the greater use of pictures by Sunday newspapers. (231) The author discusses the growth of Sunday papers and their use of illustrations. (231-32)
Drake provides an interesting account of how artists are sent to cover a fire and how the newspaper holds back production until it can get their pictures. The artists return to the paper and deliver their drawings to the photo-engraving plant. For the artist, it usually took about "two hours to make a four-column drawing," but in this case, it had to be done in an hour and a half. At the plant, the drawing "is photographed and 'printed' by electric light on a sensitized zinc plate. By chemical action the lines of the drawing, as they appear on the zinc plate, are impervious to the action of nitric acid. Into this acid, then, the plate is immersed until the zinc around the lines is eaten away, leaving the lines in relief. More of the zinc is then removed from around and between the lines by the 'routing machine,' a few touches are given to it by a hand-engraver, it is nailed to a metal block to make it 'type high,' and sent to the composing room.
"Since the illustrations of any periodical naturally divide themselves into three main classes of pictures, viz.: buildings and landscape, 'figure' subjects, and portraits, the art department of a newspaper is formed of due proportions of men clever in each of these lines. If the art department is a small one, men are selected who, in an emergency, can do all three branches of work in a fairly creditable manner." (234) wood engraving journalism illustrations fame entertainment, and journalism entertainment celebrity magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving New York World, and illustrations Pulitzer, Joseph Pulitzer, Albert Bennett, James Gordon journalism, and entertainment entertainment, and journalism newspapers, and Sunday newspapers Sunday newspapers illustrations, and artists newspapers, and artists illustrations, and zinc process newspapers, and zinc process zinc process, and newspapers photo engraving illustrations journalism Drake, Frank C. The Illustration of Newspapers 11490 Drake, William J. ed. The New Information Infrastructure: Strategies for U. S. Policy New York Twentieth Century Fund Press
1995
A Twentieth Century Fund Book The idea for this anthology began in 1990, and was one of the first projects of the Twentieth Century Fund's communications projects. This volume assumes that a new information infrastructure is in the process of emerging but its precise nature is not yet clear. In the past newspaper played a central part in keeping citizens informed about their government. Radio and television later added immediacy to the news. Now "we are in the early stages of another extraordinary change in the way many Americans transmit and receive information." How these new electronic media will affect governing is uncertain.
This book poses several questions. Will the new National Information Infrastructure (NII) be structured mainly for corporate users, or will it also include small businesses, nonprofit agencies, and individuals citizens who can use it without restrictions? What kinds of regulatory policies are needed? Does the American experience with communications serve as a model for other nations, both developing and industrialized? As national economies are eroded, how can a global information infrastructure be created that will incorporate the difference NIIs around the world?
This book is divided into four parts and twelve chapters. Part I, "The New Policy Environment," has the following essays: Eli M. Noam, "Beyond Telecommunications Liberalization: Past Performance, Present Hype, and the Future Direction"; François Bar, "Information Infrastructure and the Transformation of Manufacturing"; Linda Garcia, "The Globalization of Telecommunications and Information"; and Richard Jay Solomon, "Telecommunications Technology for the Twenty-first Century."
Part II, "Politics for the National Information Infrastructure," includes: Henry Geller, "Reforming the U. S. Telecommunications Policymaking Process"; Lee McKnight and W. Russell Neuman, "Technology Policy and the National Information Infrastructure"; and Herbert S. Dordick, "The Social Consequences of Liberalization and Corporate Control of Telecommunications."
Part III, "Polices for the Global Information Infrastructure," includes: Peter Cowhey, "Building the Global Information Highway: Toll Booths, Construction Contracts, and Rules of the Road"; Bruno Lanvin, "Why the Global Village Cannot Afford Information Slums"; Anthony M. Rutkowski, "Multilateral Cooperation in Telecommunications: Implications of the Great Transformation"; Joel R. Reidenberg, "Information Flows on the Global Infobahn: Toward New U. S. Policies"; and Kalypso Nicolaïdis, "International Trade in Information-Based Services: The Uruguay Round and Beyond."
Part IV is entitled "Outlook and Conclusion," and includes two essays by William J. Drake, the volume's editor. They are "The National Information Infrastructure Debate: Issues, Interests, and the Congressional Process," and "Policies for the National and Global Information Infrastructures." nationalism corporations corporations, multinational censorship and ratings labor communication revolution community democracy law capitalism non-USA office office, and new media office political economy infrastructure Information age nationalism and communication infrastructure, national infrastructure, global global communication regulation telecommunications communication revolution democracy and media capitalism, and new media global village information superhighway, global capitalism, and digital media multinational corporations capitalism digital media nationalism, and digital media digitization information superhighway Drake, William J. ed. The New Information Infrastructure: Strategies for U. S. Policy 6710 Draper, Harry Napier Effect of Light on the Electrical Conductivity of Selenium Nature
March 6, 1873
7 340 materials television, and history of television television, and origins selenium seeing at a distance Draper, Harry Napier Effect of Light on the Electrical Conductivity of Selenium 9210 Dreier, Peter The Corporate Complaint Against the Media The Quill
Nov. 1983
64-80 The author argues that corporate relations experts are buying favorable public opinion. The profound influence of public relations has the effect of neutralizing any liberal bias that might slip into national news media accounts of the world. Much of what is by definition news is determined by politicians, government officials and well-financed interest groups.
--Phil Glende advertising, and public relations propaganda advertising journalism community democracy news and journalism public relations news Glende, Phil public relations, and liberal media public relations, and news news, and public relations news, and corporate bias books, periodicals, newspapers public relations democracy and media democracy, and public relations Dreier, Peter The Corporate Complaint Against the Media 420 Drexler, K. Eric The Coming Era of Nanotechnology Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
361-73 Drexler contends that “the old style of technology is bulk technology, where we handle atoms in unruly herds. Nanotechnology, on the other hand, will allow us to handle individual atoms and molecules, so we can build up complex structures one atom at a time. Nanotechnology... will completely transform information technology, biotechnology, and materials science, enabling us to build self-replicating engines of abundance, engines of healing, and engines of destruction.” This piece first appeared in Whole Earth Review, No. 54 (Spring, 1987). Tom Forester, the book’s editor, acknowledges that this essay approaches science fiction. computers science materials future and science fiction computers materials general studies miniaturization nanotechnology biotechnology materials revolution future science fiction artificial intelligence and biotechnology computers and the Internet computers, and nanotechnology Drexler, K. Eric The Coming Era of Nanotechnology 11790 Drexler, K. Eric Engines of Creation: The Coming Era of Nanotechnology New York Anchor Press/Doubleday
1987
This provocative book argues that nanotechnology has placed us on the threshold of a social upheaval of unprecedented dimensions. “To have any hope of understanding our future,” Drexler writes, “we must understand the consequences of assemblers, disassemblers, and nanocomputers. They promise to bring changes as profound as the industrial revolution, antibiotics, and nuclear weapons all rolled up in one massive breakthrough. To understand a future of such profound change, it makes sense to seek principles of change that have survived the greatest upheavals of the past. They will prove a useful guide.” Nanotechnology, if used wisely, will dramatically enhance the quality of life. If used unwisely, it will make possible our destruction. “Dangerous replicators,” Drexler says, “could easily be too tough, small, and rapidly spreading to stop -- at least if we made no preparation. We have trouble enough controlling viruses and fruit flies.” technology R & D computers preservation research and development war communication revolution history, and new media genetics community democracy communication revolution, and second industrial revolution censorship and ratings children change war history computers nanotechnology assemblers disassemblers nanocomputers artificial intelligence and biotechnology genetic engineering automation history, break with democracy and media DNA evolution change, acceleration of hypertext medicine medicine, and nanotechnology technology and society values values, and technology military communication second industrial revolution communication revolution computers and the Internet labor children, and media Drexler, K. Eric Engines of Creation: The Coming Era of Nanotechnology 11890 Drexler, K. Eric Nanosystems: Molecular Machinery, Manufacturing, and Computation New York John Wiley & Sons, Inc.
1992
This book synthesizes fifteen years of research on molecular manufacturing. It is intended for several audiences. One is the person with a general science background who is interested in molecular nanotechnology -- its characteristics, principles, capabilities -- but not in the mathematical details. The work is presented in a fashion that the general reader can skip technical sections without becoming lost. Other readers for whom this work is aimed are those considering working in nanotechnology, physicists, chemists, computer scientists, materials scientists, molecular biologists, and mechanical engineers. Each of the work’s 15 chapters and two appendices begins with an overview of its topic. The author has discussed the broader implications of this subject in his earlier book Engines of Creation: The Coming Era of Nanotechnology (New York: Anchor Press/Doubleday, 1986); and in K. E. Drexler, C. Peterson, and G. Pergamit, Unbounding the Future: The Nanotechnology Revolution (New York: William Morrow, 1991). computers communication revolution materials computers and the Internet communication revolution, and second industrial revolution biochemistry nanotechnology nanocomputers computers computers, and nanocomputers miniaturization molecular computers computers, and molecular molecular manufacturing materials revolution second industrial revolution communication revolution materials Drexler, K. Eric Nanosystems: Molecular Machinery, Manufacturing, and Computation 2160 Drexler, K. Eric and Chris Peterson with Gayle Pergamit Unbounding the Future: The Nanotechnology Revolution New York William Morrow and Company, Inc
1991
The authors believe that we are near an era in which nanotechnology will radically alter the way in which we live. “A short summary of what molecular nanotechnology will mean is thorough and inexpensive control of the structure of matter. Pollution, physical disease, and material poverty all stem from poor control of the structure of matter. Strip mines, clear-cutting, refineries, paper mills, and oil wells are some of the crude twentieth-century technologies that will be replaced. Dental drills and toxic chemotherapies are others.”
The authors’ goal is to explain molecular nanotechnology in a practical way so that readers can think about it and the future realistically. Speculation about this technology’s impact is not limited to communication, but future possibilities include “pocket supercomputers” and “pocket libraries.”
Drexler earlier published a book entitled Engines of Creation: The Coming Era of Nanotechnology (New York: Doubleday, 1986). computers archives materials future and science fiction computers non-USA materials libraries Japan libraries, and information storage information storage information storage artificial intelligence and biotechnology computers and the Internet information storage materials revolution computers, and supercomputers Japan, and nanotechnology future miniaturization nanotechnology libraries future miniaturization, and nanotechnology computers, and nanotechnology Drexler, K. Eric and Chris Peterson with Gayle Pergamit Unbounding the Future: The Nanotechnology Revolution 36670 Dreyer, Carl Color and Color Films Lewis Jacobs The Movies As Medium New York Farrar, Straus & Giroux
1970
197-200 The author, a Danish film director, notes that color film during the 1960s could not capture all the complexity of color in real life. "The tiny color differences, the semi-tones, all those nuances the eye receives without discrimination, are missing in color films. To demand that color in color films should be natural is to misunderstand all that is involved. Indeed, the spectator can have a much greater aesthetic experience because color in film differs from that in nature." (198) Dreyer's article originally appeared in Films in Review (April, 1955). technology corporations corporations motion pictures color cameras motion pictures, and cameras motion pictures, and color color, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures photography technology and society materials materials cinema motion pictures celluloid non-USA motion pictures and popular culture photography and visual communication cameras, and motion pictures film Technicolor Eastman Kodak Cinemascope celluloid technology, and motion pictures motion pictures, and technology color, and Eastman Kodak color, and Technicolor technological determinism media literacy motion pictures, and media literacy media literacy, and motion pictures Dreyer, Carl Color and Color Films 1530 Drucker, Johanna The Visible Word: Experimental Typography and Modern Art, 1909-1923 Chicago University of Chicago Press
1994
Drucker writes: “What began as a semiotic analysis of typography produced by artists in the 1910s has evolved into an inquiry into the transformation of semeiotically based critical practices in the course of the twentieth century. The study of typographic experimentation offers an excellent case study for such an inquiry. Because of its interdisciplinary character, the treatment of typography within critical interpretation can be used to trace the transformations in the premises on which both literary and visual arts criticism conceive of their objects.” photography print printing modernism modernity modernism news and journalism books, periodicals, newspapers news and journalism press modernity magazines photography and visual communication typography press, and experimental typography modern art, and experimental typography magazines, and experimental typography books, periodicals, newspapers printing, and typography modern art Drucker, Johanna The Visible Word: Experimental Typography and Modern Art, 1909-1923 430 Drucker, Peter F. The Age of Discontinuity: Guidelines to Our Changing Society New Brunswick, NJ Transaction Publishers; originally New York: Harper & Row, 1968
1968, 1992
Drucker, a management scholar and futurist, first published this book in 1968. This edition has a new introduction (1992) and an introduction written to the 1983 edition. Chapters include “The End of Continuity,” “The New Industries and Their Dynamics,” and “The Sickness of Government.” nationalism preservation communication revolution history, and new media communication revolution, and second industrial revolution government history history general studies history, break with capitalism nationalism and communication government, and decline of government second industrial revolution communication revolution Drucker, Peter F. The Age of Discontinuity: Guidelines to Our Changing Society 440 Drucker, Peter F. Post-Capitalist Society New York Harper Business, A Division of HarperCollins Publishers
1993
“Every few hundred years in Western history there occurs a sharp transformation,” Drucker writes. “We cross what in an earlier book [The New Realities (1989)] I called a ‘divide.’ Within a few short decades, society rearranges itself -- its worldview; its basic values; its social and political structure; its arts; its key institutions. Fifty years later, there is a new world. And the people born then cannot even imagine the world in which their grandparents lived and into which their own parents were born.
“We are currently living through just such a transformation. It is creating a post-capitalist society, which is the subject of this book.” preservation communication revolution history, and new media communication revolution, and second industrial revolution history history general studies capitalism history, break with communication revolution second industrial revolution change, and America change postmodernism capitalism, post Drucker, Peter F. Post-Capitalist Society 6730 Du Maurier, George Edison’s Telephonoscope (transmits light as well as sound) Almanack for 1879, Punch
Dec. 9, 1878
75 television, and history of television television, and origins Edison, Thomas telephones telephonoscope, and Edison seeing at a distance telephonoscope Du Maurier, George Edison’s Telephonoscope (transmits light as well as sound) 6740 Du Maurier, George The Martian London George Bell and Sons
1897
television, and history of science television television, and origins science fiction, and television future and science fiction future science fiction Du Maurier, George The Martian 6750 Du Maurier, George Society Pictures London Bradbury, Agnew and Co.
1891
television, and history of television television, and origins Du Maurier, George Society Pictures 28300 Dudar, Helen America Discovers Child Pornography Ms.
Aug. 1977
6 2 45-47, 80 This article was among the many attacks that feminists made on child pornography, and more generally on all pornography, during the late 1970s. women, and new media sexuality women feminism censorship and ratings pornography children children, and pornography pornography, and children child pornography feminism, and pornography women women, and pornography children, and media Dudar, Helen America Discovers Child Pornography 38390 Duell, Charles H. Glimpses into the Future: I. The Future as Seen from the Patent Office Youth's Companion
Jan. 3, 1901
75 1 3-4 This article, written by the United States Commissioner of Patents in 1901, talks about developments in several areas of research. With regard to photography and color photography, he writes that "the development of dry plate and other details in the art of photography have been recently such that the amateur of to-day is a better photographer than the expert of yesterday. Interesting possibilities in color photography are at the open door, and the young woman of auburn hair may not much longer complain that her peculiar beauty is not shown in her photograph. The tricolor printing processes of to-day will soon become multicolor printing processes. Typesetting-machines and roller printing processes will be further developed." (3) journalism magazines, and photography photography and visual communication photography, and dry plate photography, and amateurs photography, and color color color, and photography photography, and printing news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines typesetting typesetting, and photography photography, and typesetting photography, and women women, and photography women photography, and sexuality sexuality, and photography sexuality magazines photography Duell, Charles H. Glimpses into the Future: I. The Future as Seen from the Patent Office 42750 Duhamel, Georges America the Menace: Scenes from the Life of the Future Boston and New York Houghton Mifflin Company
1931
Early in the twentieth century, a line of criticism emerged that considered cinema to be part of a mechanical revolution that was undermining print culture, and with it, an essential cornerstone of Western Civilization. In 1928, the French physician and writer George Duhamel returned home from the United States troubled that American culture, which had come to be dominated by motion pictures, radio, the phonograph, newspapers, electric signs, and automobiles, was the wave of the future. He wrote a book about his experiences, Sce`nes de la vie future (1930). No nation had “thrown itself into the excesses of industrial civilization more deliberately than America,” he said. “If you were to picture the stages of that civilization as a series of experiments made by some malign genie on laboratory animals, North America would immediately appear to you as the most scientifically poisoned of them all.” (xiii)
A centerpiece of this “material or mechanical civilization” (ix) was the cinema where the spectator was “given no chance to use his intelligence, to discuss, to react, to participate in any manner whatsoever.” (35) At the cinema, everything was “an abridgement,” (31) an “imitation,” and “false,” (27) he asserted. “I began to lose any sense of having a soul,” Duhamel’s recalled. (27) And yet “this terrible machine, so elaborately dazzling, with its luxury, its music, its human voice, this machine for stupefying and destroying the mind, is today among the most astonishing forces in the world.” (35) Motion pictures had become “a most powerful instrument for enforcing a uniform standard, alike in ethics, politics, and aesthetics,” and for smothering “forever the springs of an old and noble spiritual life.” (40) When Duhamel’s book was translated into English, it carried the unfortunate title America the Menace: Scenes from the Life of the Future (1931), which led many American critics to dismiss it out of hand.
At first glance, Duhamel’s views might remind one of a condemnation of the movies made about the same time in America by the Jesuit priest Daniel Lord. But where Lord feared erosion of Christianity, Duhamel worried about the loss of a “moral civilization” (ix) based on great literature, art, and music. He would gladly trade all the best movies, he said, “for one play of Moliere’s, for one picture of Rembrandt’s, or for a single fugue of Bach’s.” (36)
Duhamel devotes Chapter XI to "The Segregation of Races" in New Orleans, Alabama, and elsewhere.
A few years later, Duhamel elaborated on his concerns in another book, In Defence of Letters (1937; trans. 1939). non-USA France motion pictures motion pictures, and France France, and motion pictures critics critics, and motion pictures motion pictures, and critics phonograph phonograph, and critics history, break with motion pictures, and break with history history and new media motion pictures, and print culture print culture, and motion pictures critics, and modernism modernism, and critics words vs. images images vs. words race race, and segregation history modernity print Duhamel, Georges America the Menace: Scenes from the Life of the Future 42740 Duhamel, Georges In Defence of Letters (translated by E. F. Bozman) New York Greystone Press
1939
As the 500th anniversary of Gutenberg's printing press approached, French author and publisher Georges Duhamel warned that print culture, which made up the very foundation of Western civilization, was being supplanted by movies, the phonograph, and radio. “The book is one of the springs of creative individualism, that individualism which, in these uncertain times, remains the guardian angel of human society," Duhamel said. "For five hundred years the book has been, for the solitary mind, an incomparable instrument of uplift and liberation.” (vii) Yet film, the phonograph, and the radio were bringing "serious changes in our modern culture" (xi) that threatened "the life of the book and the supremacy of the printed word...." (xi) There had been, he argued, “a sharp change of direction of which there are many examples in the story of the human race, and civilized activities seem to be operating temporarily so as to suspend the very progress of civilization itself and divert it into other channels.” (viii) Duhamel went on to say that “Various indications lead us to suppose that books, while still the pâtée royale, that is to say, the essential diet of the elect, the master minds, are going to play an ever diminishing role in the enlightenment and entertainment of the multitude.” (viii)
Duhamel did "not despise " these new forms of learning and entertainment so much as he was "afraid of them. I do not underestimate their importance, because I believe that they are capable of transforming the face of the globe that we live in and changing the harmony of our existence. I even admit that I believe, in the bottom of my heart, that the cinema and the radio, wisely handled, could yet work for the salvation of their victim the book. So let no one think of me as an obstinate opponent. The greatest service that can be rendered to cinema and radio and so to their supporters--is to criticize their methods.” (x)
Duhamel saw grave consequences if these developments were not challenged and checked. “If the public gets out of the habit of reading they will not come back to it. We shall enter a new phase of our history from ix/x which there is no turning back,” he believed. (ix-x) “Our moral balance, maintained with such difficulty, may find itself impaired.” (xi) What might follow, he feared were "two or three centuries of barbarism." (x)
Duhamel thought it was impossible “to create and maintain a true culture, a strong and flourishing culture, through the medium of pictorial and oral apparatus” alone at least as they existed during the 1930s. (21) “Education demands work, real work digging, hoeing, and rolling. Nothing can be acquired without effort….” (45) Film and radio required little of their audiences and were far more powerful instruments of propaganda that they were of education.]
The problem the movies and the radio during the 1930s was that they offer little choice or time for reflection. The see one good film one had to sit through hundreds of mediocre ones. “For one good concert on the radio we have to put up with a thousand disgusting or ridiculous noises.” (30) Unlike a book where the reader could go back over a paragraph and consider what had been read, “The cinema and the radio do not repeat themselves they march on, they break into a run. They are … like rivers.” (30) Books were “the friends of solitude.” (42) They developed “individuality and freedom. In solitary reading a man who is seeking himself has some chance of finding himself; he chooses, and he chooses form himself; he escapes from the poisonous air of propaganda. Radio, on the other hand, is now the chief agent of imperialism. It does not purify the spirit of man, does not, like the book bring him back to the sanctuary of solitude, but throws him to the lions, subtly preparing his mind for the blood and chains of the public sacrifice.” (42)
This book is divided into four sections. "The first part only," the author said, "is devoted to the serious changes in our modern culture, and to the new forces that threaten the life of the book and the supremacy of the printed word, which is the sign in our time of effective thought. (xi)
This book appeared originally as: Georges Duamel, De´fense des lettres. Biologie de mon me´tier (Paris, Mercure de France, 1937).
For a less dire view of the likely impact of new media on the book and print culture, written in response to Duhamel, see: Donald Bean, "Books vs. Movies, Phonographs, and Radios," Peabody Journal of Education, 17, No. 4 (Jan. 1940), 253-60. non-USA France motion pictures books, periodicals, newspapers phonograph radio history, break with motion pictures, and print culture print culture, and motion pictures print culture, and radio print culture, and phonograph print culture, and civilization words vs. images images vs. words France, and print culture print culture, and France propaganda radio, and propaganda motion pictures, and propaganda education education, and books education, and motion pictures education, and radio critics critics, and motion pictures motion pictures, and critics radio, and critics critics, and radio history print Duhamel, Georges In Defence of Letters (translated by E. F. Bozman) 450 Dummer, G. W. A. Electric Inventions and Discoveries: Electronics from its Earliest Beginnings to the Present Day New York Pergamon Press
1983 (3rd ed.)
This book attempts to create a catalog of all the significant inventions and improvements in electronics. The author, an electrical engineer, intended the book not as a “learned treatise” but rather a brief summary of “firsts” in a very widely defined scientific field. As such, he provides brief descriptions of these inventions, often no more than a few sentences, but also includes a couple of citations for scientific journal articles on the particular invention described.
The first few chapters are introductory in nature. Dummer briefly chronicles the beginnings of research into electricity in the eighteenth century. He discusses the development of circuits and the science of circuitry, including a few illustrations which help the reader understand the primitive nature of early circuitry. Dummer provides several timelines, including ones for tubes, transistors and integrated circuits, audio reproduction, radio, radar and television. Each timeline is accompanied by a short explanatory chapter. In his chapter on television, Dummer omits developments prior to 1897, which undercuts his hope for an all-inclusive summary volume.
Dummer arranges timelines by subject area and chronologically. Although this approach is helpful to the reader, it also results in a good deal of duplication. Dummer includes a short bibliography of inventions and books on inventors.
The main portion of the book is the large section of entries explaining the various inventions. Organized chronologically, Dummer lists the invention, the inventor, and the country where the invention occurred. For the most part, these entries are explained in simple, clear language, a definite plus for the non-scientist. Dummer provides an index, both of inventor names, and of inventions.
This book is a helpful tool for the historian of science or inventions. It is a starting point, a place to glean the basic information about specific devices or technologies related to electricity and electronics. Dummer sometimes includes more than one citation for an entry, but he does not produce anything resembling a comprehensive bibliography for any of the entries. Rather than viewing this as an encyclopedia or textbook, this book can be thought of as an introductory volume.
--David Henning, 1999 transistors, and integrated circuits References, Statistics, Timelines, Maps recording innovation materials materials sound recording general studies Henning, David electricity electronic media vacuum tubes transistors integrated circuits recording, and sound radio radar television inventions inventors general studies timelines Dummer, G. W. A. Electric Inventions and Discoveries: Electronics from its Earliest Beginnings to the Present Day 5870 Dunlap, Orrin Marconi: The Man and His Wireless New York Macmillan (1937); reprint, New York: Arno Press (1971)
1937, 1971
Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories non-USA radio wireless communication Marconi, Guglielmo biography Dunlap, Orrin Marconi: The Man and His Wireless 12100 Dunlavy, Collen A. Politics and Industrialization: Early Railroads in the United States and Prussia Princeton Princeton University Press
1994
Dunlavy examines the many ways in which the differing political structures in antebellum America and in Prussia (from 1815 to 1848) influenced early railroad development. She argues that political structures plays an important part in both political and economic affairs. Her work is an interesting comparative study of technology in these two nations. It also offers insight into how the American railroad industry managed to push railroad policy away from the state level to the federal government.
Chapter 5 deals with “National Styles of Railroad Technology.” In Prussia “railroad promoters dealt with a unitary-bureaucratic state, which meant that they dealt with a handful of central state officials in Berlin. These officials, enjoying greater structural insulation, viewed the new technology with considerable (and well-founded) skepticism during the 1830s, and they scrutinized railroad projects more carefully throughout the period. As a result, the Prussian state granted far fewer railroad charters than the American state legislatures did.”
In the United States between the 1850s and 1880s “both federalism and separation of powers provided leverage that the railroads used to good advantage.” Federalism offered railroads two ways to get around state legislatures. Using one strategy, “business could take a ‘lateral’ route, in theory at least, moving from a ‘hostile’ to a ‘benign’ state. And, indeed, American railroad partisans, like Prussian railroad men, quickly used the ‘alarmed capital’ argument precisely to highlight this threat.” By the 1870s, the railroads (and their critics) exploited federalism in a second way, “this time moving ‘upward’ to seek national, in place of state, legislation.” Critics of railroads saw national legislation as perhaps the best way to control a business that had become national. The railroads considered such legislation a way to defend themselves from hostile state legislators. technology post office nationalism time and timekeeping censorship and ratings timekeeping, and clocks law non-USA transportation railroads transportation, and railroads timekeeping timekeeping, and railroads timekeeping, and standard time Germany Germany, and railroads Prussia, and railroads nationalism and communication nationalism, and American railroads technology and society comparative studies, U. S. and Prussia technology transfer capitalism capitalism, and democracy Great Britain Great Britain, and railroads France France, and railroads federalism technology, and political structure capitalism, and political structure postal service postal service, and railroads regulation, and railroads technological systems nationalism, and railroads railroads, and nationalism regulation Dunlavy, Collen A. Politics and Industrialization: Early Railroads in the United States and Prussia 10700 Dunlop, Orrin Elmer The Outlook for Television New York Harper and Row
1932
television, and history of television television, and origins Dunlop, Orrin Elmer The Outlook for Television 30030 Dunn, Linwood G. The 'Mad, Mad' World of Special Effects American Cinematographer
March, 1965
46 3 160-63 Dunn, then President of Film Effects of Hollywood, Inc., discusses the special effects used in "It's a Mad, Mad, Mad, Mad, World," a comedy starring several big name stars and which was shown in Cinerama in 1964. cinematography motion pictures special effects motion pictures, and special effects location shooting motion pictures, and location shooting movie, It's a Mad, Mad, Mad, Mad World It's a Mad, Mad, Mad, Mad World 65mm cameras cameras, 65mm Cinerama cameras 65mm Dunn, Linwood G. The 'Mad, Mad' World of Special Effects 32510 Dunn, Watson and Arnold M Barban Advertising: Its Role in Modern Marketing Hinsdale, IL Dryden Press
1978
By 1965, the number of lines devoted to color in large circulation magazines exceeded those given to black and white are among the interest facts in this advertising textbook. , advertising and public relations color advertising, and color color, and advertising psychology psychology, and color color, and psychology advertising, and psychology psychology, and advertising advertising, and texts color, and magazines magazines, and color advertising magazines Dunn, Watson and Arnold M Barban Advertising: Its Role in Modern Marketing 39750 Duplessis, Yvonne Paranormal Perception of Color New York Parapyschology Foundation
1975
This brief work with index runs 117 pages. Chapter one covers such subjects as color hearing, memory and color, imagination and color, feeling and color, and dreams and color. It also has an interesting section on "Appearance of a Color by Using Chemical Stimulants" (15-19) and a subheading entitled "Artificial Paradise" (15-16). "An artificial paradise of colors is created by chemical stimulants acting from the interior of the body: alcohol, hashish, peyote, LSD." (15) The phrase "articial paradise" is taken from Charles Baudelaire's book Les Paradis Artificiels (1860), published in English under the title Artificial Paradise: On Hashish and Wine as Means of Expanding Individuality (1971). Duplessis also cites Aldous Huxley's Doors of Perception (1954), who wrote about the influence on perception of mescaline, the active ingrediate in peyote.
This work, translated from French by Paul von Toal, was originally published in France under the title La Vision Parapsychologique des Couleurs. censorship avant garde art color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s color, and sensation color, and drug culture values values, and color color, and values media effects color, and media effects media effects, and color Huxley, Aldous metaphors metaphors, and articial paradise Duplessis, Yvonne Paranormal Perception of Color 9680 Dupree, A. Hunter Science in the Federal Government: A History of Policies and Activities to 1940 Cambridge, MA Harvard University Press
1957
This work examines the federal government's role in promoting science up to 1940 -- before the enormous expansion of government support for research and development that came with World War II and then later, after the Soviets had launched Sputnik in 1957. R & D nationalism science research and development nationalism and communication scientific research, and government support research and development, and government support (pre-World War II) Dupree, A. Hunter Science in the Federal Government: A History of Policies and Activities to 1940 10710 Dupuy, Judy Television Show Business Schenectady, NY General Electric
1945
General Electric Company General Electric Company Company television, and history of television television, and origins General Electric Company, and television television, and General Electric Company Dupuy, Judy Television Show Business 27700 Dutka, Elaine Film Ratings Board Picks Mosk as Its Leader.... Los Angeles Times
June 29, 1994
F (Calendar) 1F This article gives background on Richard Mosk, who replaced Richard D. Heffner as head of the motion picture industry's Classification and Rating Administration. The articles also deals with critics of the rating system such as Samuel Goldwyn, Jr., and Phillip Noyce. Noyce was upset that the rating board wanted him to cut three minutes from his movie Sliver (1993), starring Sharon Stone. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation CARA Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures critics law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture CARA CARA, and Richard Mosk Mosk, Richard Valenti, Jack, and Richard Mosk Mosk, Richard, and Jack Valenti Mosk, Richard, and CARA rating system (U. S.), and critics critics, and movie rating system (U. S.) Sliver (1993) Dutka, Elaine Film Ratings Board Picks Mosk as Its Leader.... 460 Duysters, Geert The Dynamics of Technical Innovation: The Evolution and Development of Information Technology Cheltenham, UK and Brookfield, VT Edward Edgar
1996
Duysters contends that “the use of dynamic insights which were originally developed in biology can improve our current understanding of the evolution of complex industrial systems over time.” His central argument “is that the evolution of complex industrial systems is shaped by the interplay of industrial structures, company strategies and technological developments. Therefore, in order to understand the complex dynamics of industrial systems it is necessary to analyse not only the development of market structures, but we also need a thorough understanding of the nature of technological change and the role that is played by various organizational forms over time. Central to my approach,” the author says, “is the model of natural selection. The model, as set out by Darwin and Wallace, “argues that species which are best adapted to a specific environment survive, while other less well-adapted species die. In this study I will argue that firms better equipped to meet environmental changes than others may grow successfully, while other less successful firms decline.”
Duysters devotes chapters to the international computer industry, the telecommunications industry, and the semiconductor industry. The concluding chapter attempts “an appraisal of the usefulness of our integrated biology- inspired approach.” computers Darwinism non-USA Information Age general studies information age information processing natural selection biotechnology Darwin, Charles capitalism global communication computers semiconductors telecommunications miniaturization artificial intelligence and biotechnology computers and the Internet social Darwinism Darwinism, social Duysters, Geert The Dynamics of Technical Innovation: The Evolution and Development of Information Technology 22200 Dworkin, Andrea Pornography: Men Possessing Women New York Perigee Books
c1981
Dworkin was a strong anti-pornography feminist and her views are explained Pornography: Men Possessing Women (c1981). In Minneapolis, Dworkin and Catharine MacKinnon, a law professor, proposed a law that would make it easier to prosecute pornographers. The two women had been at the University of Minnesota in 1983 where they co-taught a Law School course on pornography. Their plan differed from previous obscenity law. It defined pornography as “the sexually explicit subordination of women, graphically or in words,” and treated pornography as “discrimination against women.” This legal strategy placed the administration of the law under the city’s Civil Rights Commission, not the Criminal Justice Division. Whereas obscenity in the Miller decision held that material was not obscene unless a work, “taken as a whole,” lacked “serious literary, artistic, political, or scientific values,” the measure devised by Dworkin and MacKinnon allowed no such qualification. In Minneapolis, the city council passed the Dworkin-MacKinnon measure but Mayor Donald Fraser vetoed it on grounds that it violated the First Amendment. women, and new media sexuality motion pictures women feminism law censorship and ratings motion pictures and popular culture pornography women feminists women, and pornography feminists, and pornography pornography, and women pornography, and feminists censorship censorship, and pornography pornography, and censorship feminists, and censorship censorship, and feminists Dworkin, Andrea Pornography: Men Possessing Women 25920 Dykstra, Joan Statement of Joan Dykstra, President, National Parent-Teacher Association Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, First Session Feb. 27, 1997 Feb. 27, 1997 50-54 See also: violence See also: sexuality This statement is from Joan Dykstra, the president of the National Parent-Teachers Association (PTA), before a Senate hearing on establishing a rating system for television programs. Dykstra said at the hearing that unless there were changes in industry policy, she was prepared to recommend that Congress “go far beyond the V-chip venturing into far more restrictive quagmires of safe harbor resolutions.” Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) Valenti, Jack social science research censorship and ratings rating system (U. S.) Partent Teacher Association (PTA) PTA archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA media effects violence media violence government children censorship and rating system (U. S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship television motion pictures and popular culture motion pictures rating system (U. S.), and television television, and rating system (U. S.) classification, and television television, and classification motion pictures, and rating system (U.S.) television, and censorship censorship, and television Valenti, Jack, and Congress Valenti, Jack, and TV rating system (U.S.) children, and media children television, and Congress violence violence, and mass media violence, and television violence, and motion picture violence, and Jack Valenti hearings (U.S.) MPAA, and public relations MPAA, and television, new media effects social science research, and violence social science research, and TV violence PTA television, and parents television, and PTA rating system (U. S.), and PTA Dykstra, Joan Statement of Joan Dykstra, President, National Parent-Teacher Association 1900 Eaglemoss Publications, Ltd. Scenes from a Signalbox: A Social History of Britain’s Railways Newton Abbot (UK) David & Charles
2001
This book, with extensive illustrative material interspersed with text gives the reader a good visual image of the history of the railway system in Britain. Thematically organized by various aspects of the railway, from locomotives and stations to early public reactions and the lives of employees, this book is the equivalent of wandering through a train museum. A third section explores the train in everyday life, with pages devoted to the train in leisure, the military, crime, and the arts. Content is largely anecdotal, but still informative and detailed. A good work for understanding the social impact of the railways.
--Nicholas Wolf illustrations non-USA Wolf, Nicholas Great Britain transportation railroads Great Britain, and railroads railroads, and Great Britain illustrations Eaglemoss Publications, Ltd. Scenes from a Signalbox: A Social History of Britain’s Railways 3000 Earl, Michael J. What Micros Mean for Managers Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
356-66 See also: office Earl examines the potential impact of microelectronics on employment. The new technology should make possible greater employee participation, smaller units, and improved information flows. Earl was a Fellow at the Oxford Centre for Management Studies, Oxford, England, and this piece appeared earlier in Management Today (Dec. 1978). computers communication revolution second industrial revolution communication revolution non-USA microelectronics labor computers and the Internet artificial intelligence and biotechnology automation control revolution microelectronics revolution labor, and automation Great Britain microelectronics revolution, and unemployment labor labor, and new media labor, and microelectronics Earl, Michael J. What Micros Mean for Managers 25410 Easton, Nana J. Eszterhas vs. Verhoeven Los Angeles Times
Aug. 23, 1990
F (Calendar) 1F This article, perhaps part of the pre-film publicity buildup for the movie Basic Instinct (1992), is about a disagreement between Joe Eszterhas and Paul Verhoeven. Screenwriter Eszterhas criticized Verhoeven for wanting to make this movie into a "sexually explicit thriller." Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality homosexuality Classification and Rating Administration (CARA) sexuality women, and new media advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising press motion pictures media effects media violence lesbianism gays women feminism law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism public relations public relations, and motion pictures public relations, and Basic Instinct (1992) motion pictures, and sex motion pictures, and lesbianism motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising Douglas, Michael motion pictures, and bad press coverage press, and poor movie coverage Verhoeven, Paul Eszterhas, Joe Stone, Sharon feminists feminists, and motion pictures gays, and motion pictures Jay Leno Show Basic Instinct (1992) Easton, Nana J. Eszterhas vs. Verhoeven 24540 Easton, Nina J. "Last Temptation" Draws Mostly Sold-Out Houses Los Angeles Times
Aug. 15, 1988
6 (Calendar) 1 This articles notes that despite the protests against the movie The Last Temptation of Christ (1988), or perhaps because of them, the film opened to mostly sold-out theaters. corporations corporations values Christianity advertising, and public relations Universal Pictures propaganda advertising Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill public relations public relations, and Last Temptation Last Temptation, and public relations Last Temptation, and marketing strategies Easton, Nina J. "Last Temptation" Draws Mostly Sold-Out Houses 24440 Easton, Nina J. Slow Release Strategy Pays Big Dividends Los Angeles Times
Aug. 16, 1988
6 (Calendar) 1 This article discusses marketing strategy for The Last Temptation of Christ (1988), modeled on such earlier films as Die Hard (1988) and A Fish Called Wanda (1988). advertising and public relations propaganda public relations propaganda advertising motion pictures marketing motion pictures and popular culture public relations motion pictures, and public relations motion pictures, and marketing strategies public relations, and motion pictures Willis, Bruce marketing strategies, and Die Hard marketing strategies, and Last Temptation marketing strategies, and Fish Called Wanda advertising, and motion pictures advertising Easton, Nina J. Slow Release Strategy Pays Big Dividends 24490 Easton, Nina J. Studio Fires Back in Defense of "Temptation" Los Angeles Times
July 22, 1988
2 (Metro) 1 This article deals with the marketing strategy used by Universal in promoting its film The Last Temptation of Christ (1988). The article reports that Universal Pictures, which made the movie, took out full-page newspaper ads to refute critics. Campus Crusade for Christ and Bill Bright, who had led the attack on film are discussed. corporations advertising and public relations Universal Pictures propaganda public relations propaganda advertising values motion pictures marketing Last Temptation of Christ (1988) boycotts motion pictures and popular culture public relations motion pictures, and public relations motion pictures, and marketing strategies public relations, and motion pictures marketing strategies, and Last Temptation Universal Pictures, and public relations public relations, and Last Temptation Last Temptation, and public relations boycotts, and Last Temptation Bright, Bill Campus Crusade for Christ critics religion advertising advertising, and motion pictures values Easton, Nina J. Studio Fires Back in Defense of "Temptation" 18120 Eaton, Mick ed. Anthropology -- Reality -- Cinema: The Films of Jean Rouch London British Film Institute
1979
This book deals with Jean Rouch and covers his use of 16mm cameras in documenting his work relating to anthropology. 16mm motion pictures and popular culture motion pictures motion pictures, and anthropology motion pictures, and 16mm film anthropology, and 16mm film 16mm film, and anthropology 16mm film Eaton, Mick ed. Anthropology -- Reality -- Cinema: The Films of Jean Rouch 39570 Eaton, Walter Pritchard The Actor's Portion American Illustrated Magazine
Feb. 1906
51 4 386-92 This article, published in early 1906, starts by pointing out that pictures (photographs) of actors "adorn every fence and bill-board, they fill the Sunday newspapers" and they "occasionally break into better company in the magazines!" (386) Moreover, the popular actors has by this time become more important in drawing people into theaters than the play or drama being performed. "In spite of shrill critical reiterance of Hamlet's remark, 'The play's the thing' (which he did not intend as a critical dictum), our public goes on paying its money to see this or that player, sometimes it must be confessed without much regard to the play, continues to lavish on the actor or actress the largess of its applause." (386)
The author comments on the difference in the way an actor can deliver lines and the way the reader might experience them in the privacy of his or her study. "A drama read in the closet may be discussed purely on its literary merits; a drama performed on the stage become hopelessly entangled with the personalities of the players, and may often meet success or failure, according to their skill and charm. On an intonation of the actor's voice, a gesture of his hand, a gleam of pas- 386/387 sion on his face, the final lift of the spectator into sympathetic emotion frequently depends. In the closet the reader exercises his own imagination; in the theater he surrenders it to the players. The play's the thing! It is true of man that the skeleton's the thing, but what make it exquisite is the curve of fair flesh on a shoulder, the touch of color in cheek and eye." (386-87)
Eaton discusses the magnetism of certain personalities. Referring to a performance by the actor George Arliss, he writes: "That intangible but very real quality, personal magnetism, which seems naturally to radiate from some people, had much to do with it, no doubt. The pictorial skill displayed, the black figure against the lemon yellow walls, was a telling element. And the facial malignity, cunning and cold secrecy, of which Mr. Arliss' features are the master, worked their share. The shock of an evil or a beautiful face seen suddenly is no less potent over the imagination on the stage than in life, no less suggestive of hidden character and emotional possibilities. But one thing is certain -- it was an effect due quite as much to Mr. Arliss as to the playwright or Mr. Thackeray." (389)
The subtitle of the article reads: "Illustrated with Photographs of Actors Distinguished in Character Parts Taken Especially for this Article by Alice Houghton." Actors whose photographs are included are: George Arliss, Forbes Robertson, Edith Wynne Matthison, David Warfield, and Mary Shaw. stars (actors) theater fame fame celebrity theater theater, and celebrity culture celebrity culture celebrity, and theater personality personality, and theater motion pictures, and theater fame, and theater theater, and fame theater, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality actors acting actors, and fame fame, and actors advertising and public relations advertising, and actors actors, and advertising Sunday newspapers photography, and Sunday newspapers Sunday newspapers, and photography actors, and Sunday papers Sunday newspapers, and actors magzines, and photography photography, and magazines actors, and magazines magazines, and actors photography, and actors actors, and photography words vs. images images vs. words acting, and personality personality, and acting actors, and George Arliss acting, and facial expression actors, and the face advertising magazines motion pictures photography Eaton, Walter Pritchard The Actor's Portion 25050 Ebert, Roger Review, Henry: Portrait of a Serial Killer
Sept. 14, 1990
http://www.suntimes.com/ebert/ebert_reviews/1990/09/566963.html Film critic Roger Ebert acknowledged that many viewers found Henry: Portrait of a Serial Killer (1990) “too violent and disgusting to be endured,” but praised the picture because it dealt “honestly with its subject matter.” motion pictures Ebert, Roger motion pictures and popular culture motion pictures, and reviewss Ebert, Roger, and Henry: Portrait of a Serial Killer motion pictures, and reviews Ebert, Roger Review, Henry: Portrait of a Serial Killer 26390 Ebert, Roger Review, Natural Born Killers
Aug. 26, 1994
http://www.suntimes.com/ebert/ebert_reviews/1994/08/937174.html Film critics Roger Ebert gave this Oliver Stone film his highest rating. Others criticized the movie for its graphic violence. motion pictures media effects media violence violence Ebert, Roger motion pictures and popular culture motion pictures, and reviewss Ebert, Roger, and Natural Born Killers Ebert, Roger, and violence violence, and Roger Ebert motion pictures, and reviews Ebert, Roger Review, Natural Born Killers 25010 Ebert, Roger Review, The Cook, the Thief, His Wife and Her Lover
1990
http://www.suntimes.com/ebert/ebert_reviews/1990/01/thecook.html Movie critic Roger Ebert gave The Cook a favorable review but warned that it was “not an easy film to sit through.” It was about an avaricious, sadistic husband named Spica (played by Michael Gambon) who, on most nights, could be found in a swank restaurant. Early on Spica in the film forces the cook to eat excrement and then urinates on him. When Spica’s beautiful but frustrated and long-suffering wife, Georgina (played by Helen Mirren), begins an affair with a man named Michael (played by Alan Howard), whom she sees in the restaurant, Spica takes revenge by having his henchmen cram an entire book down the lover’s throat, one page at a time. The movie featured not only coprophagy, but cannibalism and male and female nudity as well. At least four members of the Classification and Rating Administration (CARA) favored giving the picture an R, although Richard Heffner, the head of CARA, thought the picture was “clearly X” and that most parents would consider it inappropriate for children. Ebert criticized the “timid souls” at CARA who had failed to give The Cook an R rating, motion pictures media effects media violence violence Ebert, Roger motion pictures and popular culture motion pictures, and reviewss Ebert, Roger, and The Cook... Ebert, Roger, and violence violence, and Roger Ebert motion pictures, and reviews Ebert, Roger Review, The Cook, the Thief, His Wife and Her Lover 28520 Ebert, Roger Review: Tie Me Up! Tie Me Down!
May 25, 1990
Sept. 16, 2001 http://www.suntimes.com/evert/ebert_reviews/1990/05 Ebert gives a lukewarm review of this movie. He says the "story has been told before, and better, in movies like William Wyler's The Collector (1965). motion pictures media effects media violence violence Ebert, Roger motion pictures and popular culture motion pictures, and reviewss Ebert, Roger, and Tie Me Up! Tie Me Down!. Ebert, Roger, and violence violence, and Roger Ebert motion pictures, and reviews Ebert, Roger Review: Tie Me Up! Tie Me Down! 25460 Ebert, Roger Satisfying the Most Basic of Instincts: Curiosity Chicago Sun-Times
May 8, 1992
2 33 Film critic Roger Ebert ontributed to the buzz surrounding the movie Basic Instinct (1992) with a tongue-in-cheek piece from the Cannes Film Festival in May saying that he had seen the 45 seconds cut from the Michael Douglas- Sharon Stone love scene. Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality homosexuality Classification and Rating Administration (CARA) sexuality women, and new media advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising press motion pictures media effects media violence lesbianism gays women feminism Ebert, Roger law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism public relations public relations, and motion pictures public relations, and Basic Instinct (1992) motion pictures, and sex motion pictures, and lesbianism motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising Douglas, Michael motion pictures, and bad press coverage press, and poor movie coverage Verhoeven, Paul Eszterhas, Joe Stone, Sharon feminists feminists, and motion pictures gays, and motion pictures Jay Leno Show Basic Instinct (1992) Ebert, Roger, and Basic Instinct (1992) Ebert, Roger Satisfying the Most Basic of Instincts: Curiosity 9060 Ebo, Bosah Cyberghetto or Cybertopia? Race, Class and Gender on the Internet Westport, CT Praeger
1998
This collection of essays examines how issues of race, class and gender will come into play on the Internet. The authors use a variety of methodologies to address the following questions: 1) Will the new medium include marginalized constituencies?; 2) Will the Internet serve as an equalizer or will it create “hedonistic isolations” which will hurt communities?; 3) Will knowledge gaps increase?; and 4) How will the economics of the Internet shape class and gender relations?
--Mark Tremayne computers class nationalism women, and new media digital media digitization community democracy community race information technology computers and the Internet Tremayne, Mark women women, and the Internet race, and Internet class, and the Internet digital divide, and rich and poor cyberspace public sphere democracy and media information technology, and education nationalism and communication capitalism writing community, and Internet Ebo, Bosah Cyberghetto or Cybertopia? Race, Class and Gender on the Internet 10720 Eckhardt, George Electronic Television New York Arno Publishing
1936, 1974
1936 television, and history of television television, and origins Eckhardt, George Electronic Television 12640 Eder, Josef Maria Geschichte der Photographie (History of Photography, translated by Edward Epstean) New York Columbia University Press
1881, 1890, 1905, 1932, 1945
1932 (1881, 1890, 1905) This work is a translation from the German-language fourth edition of Eder’s History that appeared in 1932. In 1905, in the Preface to the Third Edition, Eder wrote: “There are three stages in the development of my Geschichte der Photographie. The first was the period to the beginning of the eighteenth century; this fragment ... was published in 1881. In 1890 I published ... the development of photochemistry up to Daguerre and Niépce. Then followed the first authoritative and exhaustive treatment of the general field of photography, with accurate references to the literature and historical sources, in my Ausführliches Handbuch der Photographie, which served as the groundwork for my history of the modern photographic process. With this material in hand, I was enabled for the first time to attempt, in this (third) edition of my history, to present the history of the invention of photography up to the end of the nineteenth century. I undertook also to include in this work careful reproductions of many incunabula and portraits of importance to the history of photography. The originals of most of these are fast disappearing and have become very rare and difficult to obtain....”
The work provides a technical history of photography but also attempts to set photography’s development into an international context up to the end of the nineteenth century. As an Austrian, Eder provides considerable information about Austrian contributions to this field – contributions he felt in 1932 that had been often neglected by recent histories of German origin. This translation omits the illustrations that appeared in Eder’s original volume.
This book, which runs 860 pages, is not only informative on early personalities involved with the development of photography, but also on the scientific processes that contributed to advances in this field.
This edition contains a biography of Eder (pages 720-28) by Hinricus Lüppo-Cramer. Lumiére, Louis corporations Lumiére, Louis corporations dyes dyeing Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories Aristotle photography projection print printing motion pictures materials paper cinema motion pictures celluloid film color collodion celluloid news and journalism non-USA photography and visual communication photography Austria, and photography photography, and Austria color, and photography photography, and color Europe, and photography photography, and Europe collodion process, and photography photography, and collodion process motion pictures and popular culture motion pictures, origins cinematography Daguerre, Louis daguerreotype celluloid, and film color, and Aristotle Aristotle, and color dyes, and color photography photography, and dyes Eastman Kodak Eder, Josef Maria, biography film, and celluloid film, and photography Goethe, J. W. von, and color color, and Goethe half tone process photography, and half tone process newspapers, and half tones printing, and newspapers lenses lighting photography, and lighting Lumière brothers Marey, Étienne Jules paper, and photography photography, and paper photomicrography photolithography printing, and photography projection, and photography photography, and projection Talbot, William Fox photography, and balloons balloons, and photography zincography color, and three-color photography photography, and snapshots color, and bipack Maxwell, James Clerk Austria biography, and Josef Maria Eder biography newspapers Europe materials film half tones news Eder, Josef Maria Geschichte der Photographie (History of Photography, translated by Edward Epstean) 1540 Edgerton, Gary Digital Color Imaging and the Colorization Controversy: Culture, Technology, and the Popular as Lightning Rod Chris Hables Gray, ed. Technohistory: Using the History of American Technology in Interdisciplinary Research Malabar, FL Krieger Publishing Company
1996
5-32 C. Wilson Markle, an engineer at Image Transform in Los Angeles, first created color imaging in 1971. This article looks at the controversy over colorization of black and white movies. At the time this article appeared (1996), Ted Turner had colorized only 270 videotapes. This piece has a useful four-page bibliography on this topic. It also has a list of the first 100 “national treasures,” films that cannot be “materially altered” (including colorization) without adding a label saying that the changes have been made without the permission of the principal creators of the movies. Another appendix contains copyright information on the 270 colorized videotapes registered through the end of 1993. Appendix 3 gives the number of copyrighted colorized videotapes each year between 1985 and 1993. There is also a list of the number of colorized videotapes films that were shown on television between 1985 and 1993. magnetic recording photography motion pictures materials materials videotape magnetic tape television, and color motion pictures and popular culture photography and visual communication digital media color, and digital imaging motion pictures, and colorization (1985-93) Turner, Ted, and colorization video tapes, colorized (list) television, and colorized videotapes shown color television motion pictures, and digitization motion pictures, and color Turner, Ted digitization Edgerton, Gary Digital Color Imaging and the Colorization Controversy: Culture, Technology, and the Popular as Lightning Rod 39770 Edison, Thomas A. The Perfected Phonograph North American Review
June, 1888
46 374 641-50 Ten years earlier, in May-June, 1878 issue of the North American Review, Edison had written an article in which he listed several uses for the phonograph-- 1) letter writing; 2) books on records; 3) teaching elocution; 4) reproducing music; 5) creating a family records of reminiscences; 6) music boxes and toys with sound; 7) clocks that would announce time; 8) preserving languages; 9) aids to teachers and education. "Every one of these uses the perfected phonograph is now ready to carry out," Edison writes in this article. (646) To these uses, he adds an instrument that can provide amusement (e.g., music, short stories, poems).
Edison comments on the inexpensive duplication of wax cylinders and also on their use for preserving history. "A single wax cylinder, or blank, may be used for fifteen or twenty successive records before it is worn out. But if the record is to be kept, the wax blank must not be talked upon again, and is simply slipped off from the metal cylinder and filed away for future reference. It may be fitted on to the cylinder again at any time, and will at once utter whatever has been registered on it. One of these wax blanks will repeat its contents thousands of times with undiminished clearness. Further, we are able to multiply to any extent, at slight cost, phonographic copies of the blank, after the talking, or music, or other sounds have been put upon it once." (645)
As for preserving history, Edison says: "It is curious to reflect that the Assyrians and Babylonians, 2,500 years ago, chose baked clay cylinders inscribed with cuneiform characters, as their medium for perpetuating records; while this recent result of modern science, the phonograph, uses cylinders of wax for a similar purpose, but with the great and progressive difference that our wax cylinders speak for themselves, and will not have to wait dumbly for centuries to be deciphered, like the famous Kilch-Shergat cylinder, by a Rawlinson or a Layard. Without our facilities, a sovereign, a statesman, or a historian, can inscribe his words on a phonograph blank, which will then be multiplied a thousand-fold; each multiple copy will repeat the sounds of his voice thousands of times; and so, by reserving the copies and using them in relays, his utterances can be transmitted to posterity, centuries afterwards, as freshly and forcibly as if those later generations heard his living accents. Instrumental and vocal music -- solos, duets, quartets, quintets, etc. -- can be recorded on the perfected phonograph with startling completeness and precision. How interesting it will be to future generations to learn from the phonograph exactly how Rubinstein played a composition on the piano;...." (645) The phonograph "will retain a perfect mechanical memory of many things which we may forget," Edison maintains. (649)
Edison saw a role for the phonograph in home entertainment and in journalism. "The speeches of orators, the discourses of clergymen, can be had 'on tap,' in every houses that owns a phonograph. It would not be very surprising if, a few years hence, phonographic newspaper bulletins should be issued on wax cylinders. Even now, so soon as the phonograph comes into general use, newspaper reporters and correspondents can talk their matter into the phonograph, either in the editorial office or at some distant point, by a telephone wire connected with a phonograph in the composing-room, so that the communication may be set up in type without any preliminary of writing it out in long hand." (647) Edison says that the "accuracy of interviews with newspaper reporters will be determined, no doubt, by phonographic record." (649)
Edison thought the wax cylinders would be sent through the mail and that "pay stations" would be set up where people could take a "phonogram" and play it. (647) Writers would be able to "register their fleeting ideas and brief notes on the phonograph at any hour of day or night, without waiting to find pen, ink or paper, and in much less time it would take to write out even the shortest memoranda. They can also publish their novels or essays exclusively in phonogram form, so as to talk to their readers personally; and in this way they can protect their works from being stolen by means of defective copyright laws. Musical composers, in improvising compositions, will be able to have them recorded instantaneously on the phonograph." (647) Dictating letters will become common. (648, 649)
For those concerned with privacy, Edison says that "two business men, conferring together, can talk into the recorder by means of a double transmitting tube, with perfect privacy, and yet obtain upon the cylinder an unimpeachable transcript of their conversation in their own voices, with every break and pause, every hesitation or confident affirmation, every partial suggestion or particular explanation, infallibly set down in the wax." (648)
Edison compares the phonograph to instantaneous photography. "In fact, the phonograph will do, and does at this moment accomplish, the same thing in respect of conversation which instantaneous photography does for moving objects; that is, it will present whatever it records with a minute accuracy unattained by any other means." (648)
Edison says that using the phonograph requires a little training although considerably less than using a typewriters and little more than is needed to operate a sewing-machine. (649) He ends optimistically: "It will become an important factor in education; and it will teach us to be careful what we say -- for it imparts to us the gift of hearing ourselves as others hear us -- exerting thus a decidedly moral influence by making men brief, businesslike and straightforward, cultivating improved manners, and uniting distant friends and associates by direct vocal communication." (650) history history and new media materials materials, and historical preservation historical preservation historical preservation, and materials sound recording motion pictures, and sound recording sound recording, and motion pictures sound recording, and historical preservation historical preservation, and sound recording phonograph phonograph, and history history, and phonograph phonograph, and historical preservation historical preservation, and phonograph Edison, Thomas Edison, Thomas, and phonograph phonograph, and Thomas Edison duplicating technologies duplicating technologies, and phonograph phonograph, and duplicating technologies home and new media home, and entertainment phonograph, and home home, and phonograph news and journalism news, and phonograph phonograph, and news telephones telephones, and phonograph phonograph, and telephones law law, and copyright copyright, and phonograph phonograph, and copyright privacy privacy, and phonograph phonograph, and privacy education education, and phonograph phonograph, and education sound recording, and phonograph sound recording, and Thomas Edison copyright home news Edison, Thomas A. The Perfected Phonograph 4490 Edison, Thomas A. The Phonograph and Its Future North American Review
May-June, 1878
126 262 527-36 Edison wrote this fascinating piece shortly after his invention. Here he discusses what can already be done with the phonograph: 1) it can capture and permanently retain “fugitive” (530) sound waves; 2) it can capture and reproduce the original sources with or without the consent of the original source; 3) it can transmit “such captive sounds through the ordinary channels of commercial intercourse...”; 4) it can infinitely replicate and preserve the sounds. Edison speculates that in the future this invention will be used in writing and dictation, and that a person can send a sound letter to a correspondent without the intervention of the stenographer. It will be used to record books (p. 534) (“A book of 40,000 words upon a single metal plate ten inches square ... becomes a strong probability” [p. 534]), and that it will be “liberally devoted to music.” It will also be used to capture the last utterances of family members or great people and in this respect “will unquestionably outrank 533/534 the photograph.” (533-34) It will also be used for toys (e.g., talking dolls), clocks that will announce time, music boxes, and for many educational purposes. “Lastly, and in quite another direction, the phonograph will perfect the telephone, and revolutionize present systems of telegraphy.” A person will be able to speak on the phone and record the message at the same time. entertainment entertainment, home preservation labor archives home entertainment history, and new media future and science fiction history home, and new media home office office, and new media telephones sound recording phonograph office, and information technology home, and information technology libraries information technology libraries, and information storage history Edison, Thomas phonograph books, periodicals, newspapers books, recorded information technology, and office information storage telephones, and phonograph phonograph, and telegraph history, break with history, and phonograph future information technology, and home books sound recording office home home, and sound recording Edison, Thomas A. The Phonograph and Its Future 200 Edison, Thomas A. Today and Tomorrow The Independent
Jan. 5, 1914
77 3396 24-27 (APS Online) In this interview, given when he was in his mid-60s, Thomas A. Edison discusses his inventions. He expresses his optimism about the power of moving pictures in education. "I could tell any one a great deal about a dynamo and it would be hard for him to understand; but I could show everything in a few pictures so that a child would understand -- and would never forget." (27) history words vs. images motion pictures education motion pictures, and education education, and motion pictures history and new media motion pictures, and history history, and motion pictures images vs. words democracy democracy, and motion pictures motion pictures, and democracy Edison, Thomas A. Today and Tomorrow 130 Editor Mr. George G. Rockwood Phrenological Journal and Science of Health
July 1899
108 7 1-5 This article notes that "photography as eclipsed many of her sister arts" (p. [2]) and has had an enormous impact on the study of astronmy and medicine.It notes that George G. Rockwood was the "first one to introduce instantaneous photography" in New York City. (p. [5]) photography photography and visual communication cameras photography, instantaneous photography, and medicine photography, and George Rockwood Rockwood, George, and photography Editor Mr. George G. Rockwood 470 Editors of Electronics An Age of Innovation: The World of Electronics, 1930-2000 New York McGraw-Hill Publications Co.
1981
This is an informative introduction to major developments in electronics up to 1981. It begins with the world of communication in 1930, and a brief history of the technology of that period. Chapters are devoted to radio and to World War II. Chapter 5 is "The Solid State Era," and chapter 6 considers developments in the aftermath of the transistor. Chapter 7 looks at "Computers and Space," while chapter 8 considers the digital age. Pages are then given to brief biographies of "great innovators" and to "classic circuits." The final 80 pages look ahead (from 1981) to the year 2000, a period, the editors predict, that will see "profound changes" in technology, the engineering profession, and in the industry's structure.
--SV

This is a 50-year anniversary publication by the publishers of Electronics magazine, established 1930. The book details the many advances in electronic technology over the past half-century, largely informed by the pages of the magazine. It concentrates on semi-conductor technology, radio, TV, and computers. The bulk of it centers on a decade-by-decade analysis, with a final section detailing predictions for the remainder of the twentieth century.
--Nicholas Wolf R & D computers video cassette recorders (VCRs) microprocessing cathode rays magnetic recording time and timekeeping transistors, and integrated circuits fiber optics motion pictures research and development war innovation archives materials magnetic tape future and science fiction fiber optics timekeeping, and clocks war non-USA television recording recording, and sound radio radio, and broadband sound recording lithography libraries libraries, and information storage Information Age general studies microelectronics electronic media radio World War II World War II, and research and development solid state inventions inventors engineering vacuum tubes Marconi, Guglielmo Faraday, Michael Edison, Thomas Maxwell, James Clerk Hertz, Heinrich Fleming, John De Forest, Lee computers Eniac Edvac digital media Nipkow, Paul Baird, John Logie television, and big-screen television, and stereo television, and color Zworykin, Vladimir radio, and automobiles radio, and AM radar microwaves radar jamming Alexanderson, Ernst F. W. Bell Laboratories oscilloscopes military communication sonar miniaturization proximity fuse information storage information processing vacuum tubes cable, coaxial television, and cable recording, and tape recording, and stereo recording, and phonograph phonograph transistors Bardeen, John Shockley, William Brattain, Walter transistors, and germanium integrated circuits radio, and transistors transistors, and radio Texas Instruments Company ceramics lasers microprocessors electronics industry, growth of television, and vidicon cathode ray tubes recording, and phonograph 78-rpm recording, and phonograph 45-rpm Univac IBM satellites global communication aeronautics and space communication rocketry space communication masers Telstar satellites, and Echo I satellites, and Telstar satellites, and telephones satellites, and radio satellites, and television television, and satellites radio, and satellites telephones, and satellites integrated circuits, and miniaturization revolution television, and cameras cameras, television computers, desktop Terman, Frederick Ponte, Maurice Nobel, Daniel E. Hogan, C. Lester Wheeler, Harold Alden Ardenine, Manfred von Black, Harold S. Sanders, Royden S. Forrester, Jay W. Maiman, Theodore H. circuits, classic microscopes, electron lithography lithography, x-ray lithography, electron beam lithography, ion-beam clocks, quartz television, and vacuum tubes word processing optical fibers radio, citizen band radio, and broadband amplifier radio, mobile radio, and shortwave radio, and telephones weather, and satellites satellites, and weather future engineering motion pictures and popular culture television television, and cable VCRs radio electricity telephones duplicating technologies sound recording cable cameras circuits clocks computers and the Internet timekeeping television digitization future, and new media Wolf, Nicholas materials Editors of Electronics An Age of Innovation: The World of Electronics, 1930-2000 37410 Editors of The Photogram Photography for the Press London Dawbarn & Ward, Ltd.
1905
This 86-page manual by the editors of The Photogram: The Photographic Monthly was address to photographers of all classes who wished to do press work, and in the process, earn money. There is practical advice here about how to approach editors, press agents as well as an explanation of copyright law, press permits, and how best to actually take pictures with the technology then available. It lists the names and addresses of more than 85 illustrated journals then in operation in Great Britain. It also lists about the names and address of about 40 picture postcard publishers. "The picture-postcard field has grown so enormously of late, that it needs special discussion," this work says. (30) "It is almost impossible to predict what will sell largely. One of the most successful single cards was simply a large size view of a human skull, while rather commonplace creeper-clad cottages, smiling and squalling babies, children at play, and groups of kittens have run into enormous editions."
There is but one paragraph given to "Homes and Haunts of Celebrities -- When a centenary or a jubilee of a popular man is approaching, it is well to make a careful study of his life, and of his works, if he has been a writer or artist; then to devote as much time as possible -- preferably on several different days, and at different periods of the year -- to photographing his home, favorite haunts, scenes mentioned in his works or represented in his paintings, relics, family portraits, descendants or surviving friends, etc." (15)
This work recommends submitting photographs one to two weeks in advance for weekly papers; one to twelve months in advance for monthly publications; and for books, six months to a year in advance. (24) post office postal service journalism magazines, and photography magazines photography non-USA Great Britain photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines non-USA, and photography Great Britain, and photography photography, and Great Britain law law, and journalism journalism, and law copyright, and journalism journalism, and copyright postcards, and photography photography, and postcards postcards, picture photography, and picture-postcards photography, and celebrity culture celebrity, and photography books, periodicals, newspapers postcards celebrity copyright journalism Editors of The Photogram Photography for the Press 17920 Edkins, Diana Pioneers of Commercial Color: Bruehl, Keppler, Muray, Outerbridge, Steichen Modern Photography
Sept., 1978
42 9 104, 142, 148, 150 Edkins writes that "by 1925 black-and-white photography played a prominent part in many magazines, but color was rare-- except in technically advanced magazines such as the National Geographic..... The advent of more commercially viable full-color photographic reproduction in the 30s started a new era of general magazine publishing. Also, it gave large-circulation magazines a great advantage over small publishers, since the unit cost of the color pages was so much less for them than for their smaller competitors." This article discusses five pioneers of commercial color photography: Anton Bruehl, Victor Keppler, Paul Outerbridge, Nickolas Muray, and Edward Steichen. photography news and journalism books, periodicals, newspapers magazines color motion pictures and popular culture motion pictures motion pictures, and history of color photography and visual communication photography, and color color, and photography motion pictures, and color photography, and pioneers of color magazines, and color photography books, periodicals, newspapers color, and magazines color photography, and Anton Bruehl color photography, and Victor Keppler color photography, and Paul Outerbridge color photography, and Nickolas Muray color photography, and Edward Steichen Edkins, Diana Pioneers of Commercial Color: Bruehl, Keppler, Muray, Outerbridge, Steichen 13330 Edmonds, Andy Frame Up! The Untold Story of Roscoe "Fatty" Arbuckle New York William Morrow and Company, Inc.
1991
This book deals with the "Fatty" Arbuckle scandal that ruined the commedian's career and fueled public outrage against the immorality of movies and their stars. This scandal was an important factor that led to the creation of the Motion Picture Producers and Distributors of America and the hiring of Will H. Hays to be it president in 1922. celebrity Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories values motion pictures and popular culture motion pictures biography motion pictures, and scandal motion pictures, and actors' status motion pictures, and censorship celebrity culture motion pictures, and celebrity culture Arbuckle, Fatty critics values Edmonds, Andy Frame Up! The Untold Story of Roscoe "Fatty" Arbuckle 2790 Edmunds, Hugh H. and John Strick Economic Determinants of Violence in Television and Motion Pictures and the Implications of Newer Technologies Report of The Royal Commission on Violence in the Communications Industry: Volume 7: The Media Industries: From Here to Where? Toronto, Ontario Royal Commission on Violence in the Communications Industry
[1977]
71-184 See also: violence See also: sexuality In Canada, American movies and television programs dominated the market – more than 90 percent of the films for which Canadian paid rental fees came from the United States. In 1977, Ontario’s Commission on Violence in the Communications Industry concluded that the “great weight of research into the effects of violent media contents indicates potential harm to society.” In Volume 1, this Report concluded that Canadians – including children – were watching increasing amounts of American-made TV which had “much higher levels of violence” than programs produced in Canada or elsewhere, and television’s “escalation of violence” was “drawing other sections of the media along like the tail of a comet.”
This essay appears in Volume 7 of the Royal Commission's Report. It discusses economic factors in television and movie violence and their relationship to new technologies. See filed under Report of the Royal Commission... Volume 7. syntheses (of research) video cassette recorders (VCRs) magnetic recording television, and media effects Surgeon General social science research fiber optics optical fibers news and journalism news media effects media violence media effects news and journalism satellites materials video games VCRs magnetic tape materials fiber optics censorship and ratings children news and journalism non-USA Canada television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures Surgeon General's Report (1972) violence children, and TV violence media effects, and television violence, and media effects, and violence violence, and media effects social science research, and TV violence television, and social science television, and violence violence, and television media effects, and television children, and media children, and TV violence social science research, synthesis (violence) Canada, and media violence journalism, and Canada journalism journalism, and violence news, and Canada news, and violence bibliographies, annotated bibliographies, and journalism and violence journalism, and violence (bibliography) video games, and Canada video games, and violence violence, and video games cable, and Canada VCRs, and Canada optical fibers, and Canada satellites, and Canada aeronautics and space communication violence, and new media bibliographies cable Edmunds, Hugh H. and John Strick Economic Determinants of Violence in Television and Motion Pictures and the Implications of Newer Technologies 2920 EDP Analyzer The Experience of Word Processing Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
232-43 This article looks at the experiences of those who have used word processors. It uses two case studies to explain how to handle this new technology, and it also is a guide to installing and operating world processors. It appeared originally in the British publication Data Processing (May 1978). computers labor communication revolution second industrial revolution communication revolution archives office office, and information technology microelectronics libraries information technology libraries, and information storage Information Age computers and the Internet word processing information processing information storage microelectronics revolution information technology, and office office, and new media office, and microelectronics EDP Analyzer The Experience of Word Processing 35280 Edwards, Herbert T. Testimony Hearings, Overseas Information Programs of the United States. U. S. Congress. Senate. Subcommittee on the Committee on Foreign Relations, Eighty-Second Congress, Second Session
Nov. 20, 21, 1952
Nov. 21, 1952 124, 211-2 Edwards tells Senator J. William Fulbright that the State Department did make films abroad that that "the ones that are produced abroad are invariably produced by local private concerns, so that the finished product will be completely in the visual idiom of the country." (212) Edwards was Director, Motion Picture Service, IIA, U. S. Department of State. audiences nationalism motion pictures motion pictures, and foreign policy motion pictures, and independent producers motion pictures, and foreign film motion pictures, and American-interest films CinemaScope VistaVision motion pictures, and CinemaScope censorship and ratings military communication motion pictures, and military motion pictures, and military censorship motion pictures, and foreign markets nationalism and communication motion pictures, and nationalism theaters motion pictures, and theaters motion pictures, and capitalism capitalism, and motion pictures capitalism Edwards, Herbert T. Testimony 2210 Edwards, Paul N. The Closed World: Computers and the Politics of Discourse in Cold War America Cambridge, MA MIT Press
1996
This uneven book nevertheless has interesting information about the development of computers and the American military. Some of the author’s information and quotations are not footnoted. The notes do not reflect much research in primary sources, yet there may be primary material (e.g., from the Reagan years during the 1980s) that was seen but not cited. Readers may find the opening chapter disjoined and disappointing. Subsequent pages are better. Chapters 2-4 deal with the military and use of computers from World War II through the 1960s. Chapter 4 (“From Operations Research to the Electronic Battlefield”) is good on the RAND Corporation and former Secretary of Defense Robert McNamara’s obsession with game theory and mathematical modeling, as well as how the computer became an icon during the Kennedy/Johnson years. Chapter 9 (“Computers and Politics in Cold War II”) is quite interesting. Edwards notes that Richard Nixon and Gerald Ford reduced spending on research and development, while Jimmy Carter, and especially Ronald Reagan, greatly expanded spending in this area. Shortly after Reagan announced the Strategic Defense Initiative in 1983, he put forward a $600 million program called Strategic Computing Initiative (SCI) which greatly accelerated spending on research and development in computer technology.
Chapter 10 (“Minds, Machines, and Subjectivity in the Closed World”) discusses several films beginning with Fail Safe and Dr. Strangelove through 2001, The Forbin Project, Blade Runner, other popular films (Terminator 2 is discussed in the Epilogue), and William Gibson’s science fiction novel Neuromancer (1984). Edwards announces in note 8 (p. 425) of this chapter that he deliberately has “chosen not to consult” the other literature written about these films. He provides useful summaries of the plots and common themes connecting these pictures but does not carry his analysis to a deeper level where he tries to determine through research how these pictures were constructed. In many ways this approach is reflective of one taken elsewhere in the book-- a tendency to use theory rather than research to sustain one’s argument.
Still, there are ideas and leads for future research and in this way the book is stimulating.
In his Introduction, Edwards writes: “Of all the technologies built to fight the Cold War, digital computers have become its most ubiquitous, and perhaps its most important, legacy. Yet few have realized the degree to which computers created the technological possibility of Cold War and shaped its political atmosphere, and virtually no one has recognized how profoundly the Cold War shaped computer technology. Its politics became embedded in the machines -- even, at times, in their technical design -- while the machines helped make possible its politics. This book argues that we can make sense of the history of computers as tools only when we simultaneously grasp their history as metaphors in Cold War science, politics, and culture.”
Other topics covered in this book include: chapter 5, ”Interlude: Metaphor and the Politics of Subjectivity”; chapter 6, “The Machine in the Middle: Cybernetic Psychology and World War II”; chapter 7, “Noise, Communication, and Cognition”; and chapter 8, “Constructing Artificial Intelligence."
This book began as a doctoral thesis in the Studies in History of Consciousness at the University of California at Santa Cruz. R & D computers corporations nationalism Ford, Gerald SDI Nixon, Richard presidents, and new media RAND Corporation research and development war Kennedy administration digital media government war World War II research and development information technology iconography icons nationalism and communication military communication artificial intelligence and biotechnology RAND Corporation Strategic Computing Initiative strategic defense initiative (SDI) computers, digital Cold War, and computers computers, and Cold War Department of Defense, and information technology Department of Defense, and computers Department of Defense, and artificial intelligence information technology, and Department of Defense cybernetics metaphors World War II, and cybernetics McNamara, Robert, and computers Kennedy administration, and computers icons, and computers computers, as icon computers, and popular culture research and development, and Nixon Administration research and development, and Ford Administration research and development, and Carter Administration research and development, and Reagan Administration supercomputers computers, and supercomputers Gibson, William Forbin Project (1970) Blade Runner Terminator (1984) military communication, and electronic battlefield Cold War computers and the Internet computers Department of Defense, U.S. Kennedy, John F. military, and digital media nationalism, and digital media nationalism, and computers digitization computers, and nationalism computers, and military Ford administration Ford administration, and research and development Nixon administration Nixon administration, and research and developoment Reagan administration Reagan administration, and research and development Edwards, Paul N. The Closed World: Computers and the Politics of Discourse in Cold War America 2740 Edwards, Paul N. Y2K: Millennial Reflections on Computers as Infrastructure History and Technology
1998
15 1-2 7-29 Edwards writes: "Computers have become the control, information storage, and information processing technology of choice in many other, pre-existing infrastructures. This essay argues that historians of computers and information technology should expand their agenda to include the origins and impacts of this phenomenon. Studying computer-based infrastructures could lead to a new historiographical approach focussing on 'internetworks'. These are very large, integrated, extremely heterogeneous metasystems, made possible in part by 'digital convergence' or the ability to record, store, process, and distribute information in all media using computers and computer networks. Key actors include the developers of protocols for information exchange among heterogeneous networks." computers preservation labor networks archives history, and new media computers office office, and new media office computers and the Internet infrastructure, and computers archives, and new technology computers, and history history, and computers archives, and computers archives, and new media archives, and infrastructure infrastructure, and archives information storage, and computers networks, large-scale information storage computers, and historical interpretation infrastructure history archives Edwards, Paul N. Y2K: Millennial Reflections on Computers as Infrastructure 27640 Egan, Timothy Technology Sent Wall Street into Market for Pornography New York Times
Oct. 23, 2000
A A20 This article deals with how pornography has become a major business. During 1999, 711 million hard-core sex movies were rented, according to Adult Video News, this article reports. Corporate America took advantage of this gold mine by providing pay-per-view adult entertainment over satellite and cable television providers. General Motors, EchoStar, AT & T, Marriott International, Hilton, Time Warner, LedgeNet Entertainment or the News Corporation were among the corporations offering such services. General Motors’ subsidiary DirecTV had 8.7 million subscribers in 2000 who paid almost $200 million a year for adult movies provided by satellite. EchoStar Communications Corporation, one of the country’s major satellite providers, made more money from sex films than did all of Playboy’s cable, Internet, and magazine interests combined. The country’s largest communication corporation, AT&T, provided adult films over a broadband cable service known as the Hot Network. AT&T also owned a company that marketed such entertainment to almost a million hotel rooms. Marriott hotels provided adult films even in such conservative states as Utah. computers video cassette recorders (VCRs) corporations, multinational corporations magnetic recording satellites, and communication photography video sexuality new media multinational corporations motion pictures Internet satellites magnetic tape General Motors Corp. law censorship and ratings censorship non-USA home, and new media home motion pictures and popular culture new media, and home home, and new media pornography pornography, and corporations pornography, and home pornography, and new media pornography, and cable TV television television, and cable television, and pornography pornography, and television pornography, and satellites satellites, and space communication pornography, and hotels capitalism, and pornography pornography, and capitalism pornography, and multinational corporation multinational corporations, and pornographny cable, and pornography satellites, and pornography new media, and pornography VCRs video, and pornography pornography, and VCRs pornography, and video computers and the Internet Internet, and pornography videotape videotape, and pornography pornography, and videotape pornography, and the Internet AT & T, and pornography General Motors, and pornography Mariott, and pornography pornography, and AT &T pornography, and General Motors pornography, and Mariott television cable television, and pornography pornography, and cable television books, periodicals, newspapers magazines, and pornography pornography, and magazines aeronautics and space communication pornography, and satellites satellites, and pornography photography and visual communication photography, and pornography pornography, and photography censorship, and pornography pornography, and censorship AT&T cable capitalism materials aeronautics and space communication magazines Egan, Timothy Technology Sent Wall Street into Market for Pornography 32950 Ehrlich, Matthew C. Journalism in the Movies Urbana University of Illinois Press
2004
news and journalism motion pictures motion pictures, and journalism journalism, and motion pictures Capra, Frank myth motion pictures, and myth news, and motion pictures journalism, and myth Watergate, and motion pictures motion pictures, and Watergate news, and myth journalism, and motion pictures journalism news Watergate Ehrlich, Matthew C. Journalism in the Movies 3930 Eisenberg, Evan The Recording Angel: Explorations in Phonography New York McGraw-Hill Book Company
1987
This work is a perceptive, often eloquently written book on the changes brought by the phonograph and the ability to record music and other sounds. The phonograph record, "heavy and cold, like black ice," changed the way people experience music. "In 1877," the author writes, "music began to become a thing." It became a commodity, to be bought and sold. Prior to capitalism, "the musician sang for his supper." With the growth of a music industry, the "cathedral of culture" became the "supermarket." Before the phonograph record, listening to music almost always (except when the artist played alone) was a social occasion. After 1877, it became a more solitary experience. Where the radio tended to enhance unification, the recorded fractured society. Totalitarian states tried to control phonograph recordings. The Soviets during the 1920s, for example, tried to punish the importation and playing of American jazz. nationalism time and timekeeping time preservation sound recording history, and new media non-USA music radio sound recording phonograph public address systems public address systems loudspeakers history sound recording phonograph records sound recording, and phonograph sound recording, and music nationalism and communication loudspeakers, and Nazis microphones Edison, Thomas Gaisberg, Fred Gould, Glenn radio radio, and Nazis Plato time history, and phonograph sound recording, and commercialization nationalism, and sound recording sound recording, and nationalism Eisenberg, Evan The Recording Angel: Explorations in Phonography 36960 Eisenhower, Dwight D. Text of Eisenhower's Farewell Address New York Times
Jan. 18, 1961
22 In this farewell address, President Eisenhower warned about the rise of a military-industrial complex. "In the council of Government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex. The potential for the disastrous rise of misplaced exists and will persist," the out-going president said. "We must never let the weight of this combination endanger our liberties or democratic processes. We take nothing for granted. Only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military of defense with our peaceful methods and goals, so that security and liberty may prosper together." R & D Eisenhower, Dwight D. Eisenhower administration military-industrial complex nationalism and communication research and development military communication presidents and new media nationalism Eisenhower, Dwight D. Text of Eisenhower's Farewell Address 36940 Eisenhower, Dwight D. Text of President's Statement and Science Aides' 'Introduction to Outer Space' New York Times
March 27, 1958
14 In the address which came just a few weeks after the United States launched its first man-made satellite, President Eisenhower talks about the advantages of space exploration. Satellites will bring better weather forecasting, rockets will no doubt take pictures of the back side of the moon. "There may well be important military applications for space vehicles which we cannot now foresee, and developments in space technology which open up quite novel possibilities," the president said. "Indeed, the scientific opportunities are so numerous and so inviting that scientists from many countries will certainly want to participate," he predicted. Eisenhower also said that "the cost of transporting men and material through space will be extremely high, but the cost and difficulty of sending information through space will be comparatively low." The president noted that "at present all trans-oceanic communication is by cable (which is costly to install) or by shortwave radio (which is easily disrupted by solar storms). Television cannot practically be beamed more than a few hundred miles because the wavelengths needed to carry it will not bend around the earth and will not bounce off the region of the atmosphere known as the ionosphere. To solve this knotty problem, satellites may be the thing, for they can serve as high-flying radio relay stations. Several suitably-equipped and properly-spaced satellites would be able to receive TV signals from any point on the glove and to relay them directly -- or perhaps via a second satellite -- to any other point. Powered with solar batteries, these relay stations in space should be able to keep working for many years." Eisenhower also saw the reconnaissance advantages of satellites. R & D aeronautics and space communication presidents and new media satellites Sputnik research and development military communication nationalism and communication Eisenhower, Dwight D. Eisenhower administration Eisenhower, Dwight, and satellites Eisenhower administratioin, and satellites remote sensing satellites, and remote sensing surveillance satellites, and surveillance surveillance, and satellites television radio war Cold War satellites, and radio satellites, and television satellites, and Cold War satellites, and weather radio, and satellites television, and satellites Cold War, and satellites satellites, and warfare military communication, and satellites satellites, and reconnaissance photography photography, and satellites satellites, and photography privacy privacy, and satellites satellites, and privacy rocketry nationalism Eisenhower, Dwight D. Text of President's Statement and Science Aides' 'Introduction to Outer Space' 12680 Eisenstein, Elizabeth L. The Printing Press as an Agent of Change: Communications and cultural transformations in early-modern Europe (2 volumes) New York Cambridge University Press
1979
This substantial, two-volume intellectual history examines how the printing press altered Western (indeed, world) civilization. Eisenstein shows how European society changed with of rapid expansion of printed materials after the advent of printing with movable metal type. The increased availability of reading material moved civilization from an oral culture with a listening public to a written and reading public. The printing press also encouraged individualism. The increased availability of Bibles created an environment that encouraged Martin Luther and the Protestant Reformation. Other books written in the vernacular promoted more democratic and nationalistic government. The printing press freed intellectuals and scientists from the necessity of rote memorization, and thus freed minds for more creative endeavors. This new, light weight form of communication which utilized the book and paper facilitated the expansion of Western Europe. nationalism imperialism values religion Protestants print communication revolution second industrial revolution microelectronics revolution cultural imperialism democracy community non-USA printing press printing books, periodicals, newspapers Gutenberg, Johann printing communication revolution, and printing values, and printing Protestant Reformation Luther, Martin Europe nationalism and communication expansion, European communication revolution nationalism, and printing press religion, and printing press capitalism, and printing press democracy, and printing press cultural imperialism, and printing press printing press, and cultural expansion capitalism Eisenstein, Elizabeth L. The Printing Press as an Agent of Change: Communications and cultural transformations in early-modern Europe (2 volumes) 9220 Eisenstein, Elizabeth L. The Printing Revolution in Early Modern Europe New York Cambridge University Press
1983
This work is an illustrated and abridged 297-page version of Eisenstein's two-volume Printing Press as an Agent of Change: Communications and cultural transformations in early-modern Europe (1979). The two-volume study is a substantial intellectual history that examines how the printing press altered Western (indeed, world) civilization. Eisenstein shows how European society changed with of rapid expansion of printed materials after the advent of printing with movable metal type. The increased availability of reading material moved civilization from an oral culture with a listening public to a written and reading public. The printing press also encouraged individualism. The increased availability of Bibles created an environment that encouraged Martin Luther and the Protestant Reformation. Other books written in the vernacular promoted more democratic and nationalistic government. The printing press freed intellectuals and scientists from the necessity of rote memorization, and thus freed minds for more creative endeavors. This new, light weight form of communication which utilized the book and paper facilitated the expansion of Western Europe.
This abridged volume is good for classroom use. nationalism imperialism Protestants print communication revolution cultural imperialism community democracy values religion non-USA values printing printing books, periodicals, newspapers Gutenberg, Johann printing communication revolution, and printing values, and printing Protestant Reformation Luther, Martin Europe nationalism and communication expansion, European communication revolution nationalism, and printing press religion, and printing press capitalism, and printing press democracy, and printing press cultural imperialism, and printing press printing press, and cultural expansion capitalism Eisenstein, Elizabeth L. The Printing Revolution in Early Modern Europe 80 Eisenstein, Sergei Montage of Attractions: For ‘Enough Stupidity in Every Wiseman’ Drama Review: TDR
March 1974
18 1 (Popular Entertainments) 77-85 This issue was devoted to "Popular Entertainments." In this article, Eisenstein explains what he means by "montage of attractions." “An attraction (in relation to the theatre) is any aggressive aspect of the theatre; that is, any element of the theatre that subjects the spectator to a sensual or psychological impact, experimentally regulated and mathematically calculated to produce in him certain emotional shocks which, when placed in their proper sequence within the totality of the production, become the only means that enable the spectator to perceive the ideological side of what is being demonstrated the ultimate ideological conclusion. (This means of cognition ‘through the living play of passions’ apply specifically to the theatre.) (bold and italics in original text)
“Sensual and psychological, of course, are to be understood in the sense of immediate reality, in the way that these are handled, for example, by the Grand Guignol theatre: gouging out eyes or cutting off arms and legs on the stage or a character on stage participating by telephone in a ghastly event ten miles away; or the plight of a drunkard who senses his approaching death, and whose cries for help are taken as delirium tremens not in terms of the development of psychological problems where the attraction is already the theme of the play itself a theme that exists and functions even outside of the play’s action provided that it is sufficiently topical. (This is an error into which agit-theatres fall, satisfied with only this kind of attraction in their productions.)
“… An attraction has nothing in common with a trick….” (78)
Eisenstein goes on to say that “the film and above all the music hall and the circus constitute the school for the montage-maker….” (79) motion pictures motion pictures, and avant-garde avant-garde, and motion pictures cinema of attractions new way of seeing motion pictures, and new way of seeing Eisenstein, Sergei theater motion pictures, and reform motion pictures, and Marxism theater, and agit-prop propaganda motion pictures, and propaganda propaganda, and theater propaganda, and motion pictures Gunning, Tom motion pictures, and modernity avant garde Eisenstein, Sergei Montage of Attractions: For ‘Enough Stupidity in Every Wiseman’ 12690 Ellegard, Alvar Public Opinion and the Press: Reactions to Darwinism Journal of the History of Ideas
June 1958
19 379-87 This article attempts to use newspapers and books to measure public reaction to Darwinism during the late nineteenth century. The author discusses methodology and the difficulties involved in trying to gauge opinion in a time before opinion polling. Darwinism news and journalism books, periodicals, newspapers newspapers, and public opinion books, and public opinion newspapers, and Darwinism Darwinism, and newspapers newspapers books news Darwin, Charles Ellegard, Alvar Public Opinion and the Press: Reactions to Darwinism 27690 Eller, Claudia Ratings 'Ain't Broke,' Board Chair Says.... Los Angeles Times
Aug. 4, 1994
F (Calendar) 1F This article is about Richard Mosk, the new chair of the motion picture industry's Classification and Rating Administration. He replaced Richard D. Heffner, who retired at the end of June, 1994. Mosk indicated that he did not see a need to make major changes in the system. “Anything can be improved, but I don’t foresee any revolutionary changes,” he explained. “It’s not my style. I’m not a rabble-rouser.” Responding to CARA’s critics, he indicated that the would not reveal board members’ names and that he believed that film makers and the public already received sufficient information about why ratings were given. “If it ain’t broke, don’t break it,” Mosk said. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture CARA CARA, and Richard Mosk Mosk, Richard Valenti, Jack, and Richard Mosk Mosk, Richard, and Jack Valenti Mosk, Richard, and CARA Eller, Claudia Ratings 'Ain't Broke,' Board Chair Says.... 39190 Ellis, Havelock Color in Literature Current Literature
Sept. 1896
20 3 212-13 This article begins by saying that "There are three things ... which color in literature describes or symbolizes: nature, man, imagination." (212) Certain colors, Havelock contends, are associated with certain emotions. Red, for example "and its synonyms ... assume an absorbing interest in man and woman, for these are the colors of blood and of love, the two main pivots of human affairs, at all events in poetry." And "a love for red is evidently associated with the passionate and sensuous enjoyment of natural and human things" in many of the great writers including "Chaucer, Shakespeare, Keats, Tennyson, and D'Annunzio." (212) In the seventeenth century, the Puritans found pleasure in green, as did Tennyson, and associated this color with nature and country living. (212)
Havelock says, however, that language is often inadequate to describe color. "The savage rarely possesses words for either color [e.g., blue and green, and even the Greeks in the fourth century of our era had no specialized word for green." (212) Havelock gives other and later examples for the lack of language for colors. religion religion, and color emotion decadence censorship censorship censorship color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations censorship and ratings color, and censorship censorship, and color media effects color, media effects media effects, and color color, and primitives Ellis, Havelock Color in Literature 39810 Ellis, Havelock The Colour-Sense in Literature Contemporary Review
Jan.-June, 1896
69 714-29 Ellis begins by arguing that even though scientific investigations of color sense are in their infancy, it is clear that humans have had this facility from the beginning. "The colour-vision of savages, whenever carefully tested, is found to be admirable, as is also that of the lower animals, and there is no reason to suppose that so useful an aptitude ever fell into abeyance." (714) Yet, he says, language has been inadequate to describe and explain color. "It remains true... that while man's colour-vision has in all probability always been excellent, his colour-vocabulary has sometimes been extremely defective, even among ourselves to-day remaining very vague...." (714) He notes that the "savage rarely possesses words for either colour [blue and green], and even the Greeks in the fourth century of our era had no specialised word for green. "(727) In a footnote, he refers to an issue of Nature in 1895 that attempted to improve the quality of language relating to color. (714)
Ellis explains his research as follows: "I have selected a series of imaginative writers, usually poets, dating from the dawn of literature to our own day; and in considerable fragments of their works, sometimes their complete works, I have noted the main colour-words that occur, and have also noted how these words are used." (715) He is careful to explain his methodology, too. "I was careful to avoid the danger of taking too small a basis for calculation; I was also careful to to eliminate any bias of my own, and, as will be seen, I have not been able to show that any one colour dominates imaginative literature from first to last." (715)
The author contends that his study of color-vision has at least two uses. First, it is "an instrument for investigating a writer's person psychology, by defining the nature of his aesthetic colour-vision." (729) In other words, the colors a writers uses can tell us "at a glance, simply and reliably, something about his view of this world which pages of description could onlly tell us with uncertainty." (729) Second, this research "unables us to take a definite step in the attainment of a scientific aesthetic, by furnishing a means of comparative study." (729)
Among the writers Ellis examines are Isaiah, Job, Song of Songs, Homer, Catullus, Chaucer, Marlowe, Shakespeare, Thomson, Blake, Coleridge, Shelley, Keats, Wordsworth, Poe, Baudelaire, Tennyson, Rossetti, Swinburne, Whitman, Pater, Verlaine, Olive Schreiber, and D'Annunzio. He concludes that "in general, it may be said that recent writers use more colour than earlier writers, and that a poet's early work shows more colour than his later work, but there are numerous exceptions." (717)
Ellis that color in literature symbolizes or represents three things: "nature, man, imagination. These three over the whole ground. The predominance of green or blue -- the colours of vegetation, the sky, and the sea -- means that the poet is predominantly a poet of nature. If red and its synonyms are supreme, we may assume an absorbing interest in man and woman, for there are the colours of blood and of love, the two main pivots of human affairs, at all events in poetry. And where there is a predominance of black, white, and, I think I would add, yellow -- the colours that are rare in the world, and the colour of golden impossibilities -- there we shall find that the poet is singing with, as it were, closed eyes, intent on his own inner vision. Wordsworth and Shelley belong largely to the first class; Chaucer and Whitman largely to the second; and Homer, Marlowe, Blake, Poe, and Rossetti largely to the third. We cannot, of course, expect any great degree of precision in the matter. Green among the earlier writers is commonly used of garments; blue often referes to eyes and veins; it is chiefly by their tone that black, white, and yellow reveal the imaginative instincts; and red refers to human beings things in only about fifty per cent. cases in which it occurs. But the general tendency remains distinct." (726)
Green, the author says, became common in the 17th century. "It is in the seventeenth century that we first find trace of a conscious and deliberate joy in green with special reference to its symbolism of nature. This tendency was a by-product of the Puritan movement. The men who turned from courts and towns began to find pleasure in the country, and the predominant colour of the country became for them the symbol of that pleasure." (728) Green was also associated with decadence. "Wordsworth represents the climax of the green movement in English literature; in his hands the epithet become merely a label which the poet affixes almost mechanically to his literary baggage. If a love of green, as a writer with some claim to be an authority has somewhat absurdly declared, 'heralds a laxity, if not a decadence of morals,' the end of the last century [18th century] was certainly such an age, and Wordsworth was the chief prophet. It was clearly impossible to go farther in that direction." (728) Tennyson introduced "a new movement," and while not adverse to green, realized that its use had become a "bald convention.... The type of colour-formula which Tennyson introduced, or re-introduced, is substantially that which still rules to-day." (729) Ellis suggests that in the future, blue may be more widely used.
Finally, Ellis rejects the idea that the use of color in late 19th century art represented decadence or degeneration. "At least one broad and unexpected conclusion may be gathered from the tables here presented. Many foolish things have been written about the 'degeneration' of latter-day art. It is easy to dogmatise when you thik that you are safe from the evidence of precise tests. But here is a reasonably precise test. And the evidence of this test, at all events, by no means furnishes support for the theory of decadence. On the contrary, it shows that the decadence, if anywhere, was at the end of the last century, and that our vision of the world is fairly one with that of classic times, with Chaucer's and with Shakespeare's. At the end of the nineteenty century we can say this for the first time since Shakespeare died." (729) media effects emotion decadence color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry values values, and color color, and values color, and decadence decadence, and color non-USA color, and non-USA non-USA, and color color, as not decadent color, and red color, and blue color, and yellow color, and green Ellis, Havelock The Colour-Sense in Literature 41200 Ellis, Havelock The Psychology of Red Popular Science Monthly
Aug., 1900
57 365-75 Ellis begins this article by saying that "Among all colors, the most poignantly emotional tone undoubtedly belongs to red." (365) Red "possesses" a "special virtue in relations to other colors" which "all are of infinite variety." (365) According to Ellis, red is one of the very few colors that are almost always recognized by savages (368, 372, 373) and one of the first color to be seen by children (374). While it may be a sacred color to some, it must also be said that "red is the most primitive of colors." (370) Ellis says that the color to distinguish color, even among the uncivilized, is greater than the ability to express color in language. "In all parts of the world it has been found that color discrimination, even amongst the lowest savages, is far more accurate than color nomenclature." (368) Ellis also implies here that civilized people tended to prefer more subtle color rather than strong primary colors such as red. "It is difficult not to believe that there really is, both among many uncivilized peoples and also many children at an early age, even to a slight extent among civilized adults, a relative inability, by no means usually absolute, to recognize and distinguish the tones of color at the more refrangible end of the spectrum." (373)
Ellis mentions Hugo Munsterberg's studies that showed such colors as red and yellow tended to stimulate the eye more strongly that other hues. He cites a 1897 study by J. Jastrow ("The Popular Aesthetic of Color," Popular Science Monthly) that show that most adults preferred blue as their favor color and about half as many liked red. (373) Once teens reach puberty, most also seemed to prefer blue. (375) Most men prefer blue and that most women like red, Ellis says and concludes by saying that "it might have been anticipated that, even though the typically 'cold' color should appeal most strongly to men, the most emotional of colors should appeal most strongly to women." (375) religion religion, and color Münsterberg, Hugo media effects emotion decadence color color, and values values, and color values actors actors, and color color, and actors color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations color, and red color, and savages color, and the uncivilized color, and children children and media children, and color red violence violence, and color color, and violence color, and inadequacy of language women women, and color red color, and Hugo Munsterberg Munsterberg, Hugo, and color Munsterberg, Hugo acting children Ellis, Havelock The Psychology of Red 18100 Ellis, Jack C. Theatrical Film on 16mm Film Council of America Sixty Years of 16mm Film, 1923-1983: A Symposium Des Plaines, IL Film Council of America (Evanston, IL)
1954
176-82 See also: violence See also: sexuality This essays deals with the theatrical uses of 16mm film and appears in a collection devoted to examining the different facets of this medium. Hollywood resisted using 16mm film and it had an association with "amateurism." But during and after World War II, many more people used 16mm cameras for a wide range of purposes. libraries nationalism Film Council of America magnetic recording World War II values preservation media effects materials materials magnetic tape cinema motion pictures celluloid film education community democracy values religion war 16mm government history motion pictures and popular culture motion pictures motion pictures, and 16mm film 16mm film magnetic tape recording magnetic tape recording, video values, and society democracy, and media education, and 16mm film religion, and 16mm film 16mm film, and education 16mm film, and religion nationalism and communication government, and 16mm film public libraries, and 16mm film 16mm film, and public libraries 16mm film, as paperback books television television, and 16mm film history, and new media history, and 16mm film values, and 16mm film sound recording sound recording, and magnetic tape World War II, and 16mm film 16mm film, and World War II 16mm film, and museums media effects, and 16mm films Film Council of America, values libraries information storage Ellis, Jack C. Theatrical Film on 16mm 480 Ellul, Jacques Preconceived Ideas About Mediated Information Everett M. Rogers and Francis Balle, eds. The Media Revolution in America and in Western Europe: Volume II in the Paris-Stanford Series Norwood, NJ Ablex Publishing Corp.
1985
95-107 Paris-Stanford Series 2 Ellul considered nine “preconceived ideas” that intellectuals and most media professionals accept. A severe critic of new media, he argued that they create an information overload that often makes society and its citizens dysfunctional. Ellul had grave reservations about the optimistic claims often promoted by computer-based information systems. Arguing from a humanistic perspective, he believed that the nature of human relationships could not be effectively transmitted through mass media. Thus, an essential element in communication was missing. The world could not become a global village nor could it be one through the new media. Instead, Ellul saw a wedge being driven ever more deeply between the “information-aristocrats and their plebeian masses.” This piece might be read in conjunction with such other thoughtful critics of new media as Langdon Winner (see his chapter “Mythinformation” in The Whale and the Reactor) and William J. Donnelly (The Confetti Generation). computers advertising, and public relations propaganda public relations propaganda advertising values communication revolution community democracy Information Age general studies democracy and media myth computers computers, and humanistic perspective information processing information v. knowledge information age communication revolution critics computers and the Internet computers, and public relations public relations, and new media advertising, and new media advertising public relations democracy, and new media values values, and new media Ellul, Jacques Preconceived Ideas About Mediated Information 9690 Ellul, Jacques Propaganda: The Formation of Men’s Attitudes New York Alfred A. Knopf
1965
See also: violence See also: sexuality Ellul writes that “Modern propaganda could not exist without the mass media–the inventions that produced press, radio, television, and motion pictures, or those that produced the means of modern transportation and which permit crowds of diverse individuals from all over to assemble easily and frequently.” This work is essentially a theoretical explication of the term “propaganda.” While Ellul draws on history (primarily the twentieth century) and makes comparisons between societies, the work is not a history of propaganda. Rather, Ellul seeks to elaborate on the conditions necessary for it to flourish, as well as on propaganda's characteristics and effects. While most of the book focuses on the similarities between so-called “authoritarian” propaganda and “democratic” propaganda, Ellul ultimately argues that democracy and propaganda do not mix well. His book is intended then as a warning to western nations.
--Mark Tremayne advertising and public relations propaganda public relations propaganda advertising media effects community democracy war general studies democracy and media critics propaganda radio books, periodicals, newspapers television advertising motion pictures Cold War Tremayne, Mark public relations propaganda, democratic propaganda, authoritarian media effects, and propaganda military communication Ellul, Jacques Propaganda: The Formation of Men’s Attitudes 37380 Elmendorf, Dwight L. Telephotography Current Literature
Jan. 1900
27 1 82 (APS Online) The article begins by comaring the telephoto lens to field glasses or the telescope in its ability to bring remote objects closer. The author notes that he began experimenting in 1890 with the lenses from old field glasses and found that it brought St. Patrick's Cathedral which was 18 blocks away into much closer viewing range. Elmendorf describes a telephoto attachment and it increases the exposure time needed to take a picture. "This is a serious drawback, for it not only debars one from using it upon moving subjects, but also increases the liability of the image to be blurred by vibrations of the camera. In order to obtain the best results the camera must be very rigid. Most of the cameras and tripods of to-day are too light and unstable for telephotography." telephotography journalism fame celebrity celebrity culture magazines, and photography magazines photography photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, and zoom lens zoom lens, and cameras cameras, and telephoto lens telephotography, and limitations modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel photography, and exposure time news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines newspapers, and telephotography telephotography, and newspapers telephotography, and exposure time photography, and exposure time personality Elmendorf, Dwight L. Telephotography 12490 Elving, Bruce F. FM Atlas and Station Directory Adolph, MN FM Atlas Publishing Co.
1976, 1978, 1980, 1982, 1983
The FM Atlas and Station Directory offers a variety of data on FM stations including call letters, maps indicating stations’ location and coverage, applications for new stations in the United States and Canada, and precise station frequencies. These editions (4th through 8th) provide a good account of the extent and growth of FM radio from the mid-1970 into the early 1980s. FM radio References, Statistics, Timelines, Maps non-USA radio radio, FM Canada Canada, and radio Canada, and FM radio frequency modulation (FM radio) FM radio, and U.S. FM radio, and Canada reference works atlases Elving, Bruce F. FM Atlas and Station Directory 2420 Enright, D. J. The Typewriter Revolution & Other Poems New York Library Press
1971
This poem begins: "The typeriter is crating/ A revlootion in peotry/Pishing back the frontears ...." typewriters duplicating technologies writing Enright, D. J. The Typewriter Revolution & Other Poems 9410 Entman, Robert M. Democracy Without Citizens: Media and the Decay of American Politics New York Oxford University Press
1989
; media effects See also: media convergence See also: mass media See also: violence See also: sexuality Political scientist Robert Entman examines the many paradoxes that face the press in the United States. The ideal is to have a vigorous political system driven by a vibrant marketplace of ideas in a free press. He argues that it is impossible for the press to be truly free in the American system. Journalists are reliant on power elites, both in government and business, for information and support and are necessarily biased. Entman continues, however, by saying that the larger problem comes from the lack of a politically sophisticated public. Because the economics of the current media system seem to dictate that content be softened and geared toward entertainment, journalists are discouraged from engaging in deeper analysis or aggressive reporting. Entman sees a debilitating paradox that leads to the decay of civic life, or “democracy without citizens.” The public needs a strong and independent media to become more sophisticated. However, because the public is seemingly uninterested in politics, the press does not become strong and independent. Entman’s book explains this cyclical relationship.
One of the major issues that Entman examines is corporate, profit-driven, media. He believes that, since the media is ultimately designed to make money rather than inform, the emphasis will be on providing content that is entertaining and enjoyable and attracts readers, viewers and listeners. He does not, however, believe that monopolization plays a serious role in this trend. Chain newspapers are no more likely to be motivated for profit than a locally owned one. In fact, there are more media outlets now than ever before, and yet people are not more informed. Entman also believes that power elites and political candidates are more likely to turn to news management and demagoguery when the press is weak and public opinion uninformed or confused by mixed messages.
Another problem that Entman sees is the reluctance of the press to be critical of leadership. Journalists are reliant on leaders for information and often let themselves be led. When they do become critical, it is often after much damage has already occurred. Criticism is also largely tied to the popularity of the figures involved. Entman makes an interesting comparison between press coverage of Presidents Nixon, Ford, Carter and Reagan. Not only were they treated differently, but each President was treated differently as his popularity rose or fell.
The key, according to Entman, is to increase the public’s sense of citizenship. One proposal is to create party-funded news sources that would provide political information and encourage participation, similar to the party press model of the 1800s. He also believes that computer technology and the Internet will provide a whole range of new media outlets that can potentially reinvigorate the system and enhance citizenship.
--Rob Rabe

Entman writes “In theory, democracy in the United States benefits from a vigorous marketplace of ideas created by an energetic ‘free press.’ The press is supposed to enhance democracy both by stimulating the citizenry’s political interest and by producing the specific information they need to hold government accountable. But American’s ‘free press’ cannot be free. Restricted by the limited tastes of the audience and reliant upon political elites for most information, journalists participate in an interdependent news system, not a free market of ideas. In practice, then, the news media fall far short of the ideal vision of a free press as civic educator and guardian of democracy.
“Despite their institutional shortcomings, the news media do influence politics significantly. This book weaves an explanation of the media’s simultaneous dependence and strength into a theory of news, public opinion, and democracy in the United States. theory explains how the media can wield the power to alter public policy and cripple presidencies--yet cannot harness that power to serve democratic citizenship and promote government accountability as free press ideals demand.” entertainment, and journalism computers nationalism citizenship journalism news and journalism entertainment community democracy computers community news and journalism news media computers and the Internet Rabe, Rob democracy and media critics media literacy citizenship, and media television news, and corporate influence news, and entertainment public sphere public opinion media effects nationalism and communication television, and democracy computers, and democracy community, and new media capitalism, and journalism journalism, and capitalism capitalism, and democracy democracy, and capitalism entertainment, and journalism journalism, and entertainment journalism capitalism Entman, Robert M. Democracy Without Citizens: Media and the Decay of American Politics 9700 Epstein, Edward News From Nowhere; Television and the News New York Random House
1973
Epstein attempts to refute the charge that only a few men, an elite, dictate what becomes news. He writes: “For example: before any programs can reach a national audience, affiliated stations must ‘clear’ them....Further, the very fact that broadcasting is licensed and regulated by the federal government, which makes both the affiliated stations and the networks dependent for their continuing existence on some measure of government approval, must be taken into account by the networks in their overall policies on news coverage and presentation. And the economic realities of network television, reflected in budgets and schedules, restrict the choices of stories available to news personnel. Finally established routines and procedures for gathering information and narrowing down the list of possible stories reduce the opportunities for politically selecting news stories or modes of presentation. In short, the outputs on network news are not simply the arbitrary choices of a few men; they result from a process.” preservation journalism history, and new media community democracy news and journalism news history television television, and news news, and television democracy and media history, and television news, bias Epstein, Edward News From Nowhere; Television and the News 12830 Erenberg, Lewis A. Steppin' Out: New York Nightlife and the Transformation of American Culture, 1890-1930 Chicago University of Chicago Press
c1981, 1984
This interesting cultural history deals with the changes in New York nightlife between 1890 and 1930. These were years when major technological changes came to America -- electrification, sound recording, wireless and radio, photography and moving pictures. Numerous innovations vastly increased the ability of Americans to experience music and other sights and sounds during this period. cultural change cyberspace culture motion pictures and popular culture motion pictures cultural change, late 19th cultural change, early 20th motion pictures, and community motion pictures, and cultural change leisure motion pictures, and leisure leisure, and motion pictures Erenberg, Lewis A. Steppin' Out: New York Nightlife and the Transformation of American Culture, 1890-1930 12840 Erenberg, Lewis A. Swingin' the Dream: Big Band Jazz and the Rebirth of American Culture Chicago University of Chicago Press
c1998
This interesting cultural history of big band jazz explores changes in music and the ability of many more people to experience such things as jazz. Electrication and improvements in sound recording, what with vinyl records, not to mention radio expanded cultural opportunities for Americans. cultural change sound recording music cyberspace culture motion pictures and popular culture motion pictures cultural change, late 19th cultural change, early 20th motion pictures, and community motion pictures, and cultural change leisure motion pictures, and leisure leisure, and motion pictures music, and motion pictures music, and jazz motion pictures, and music motion pictures, and critics race race, and motion pictures race, and music race, and jazz jazz, and race motion pictures, and race music, and race Erenberg, Lewis A. Swingin' the Dream: Big Band Jazz and the Rebirth of American Culture 13220 Erens, Patricia The Jew in American Cinema Bloomington, IN Indiana University Press
1984
This book is one of the best histories of Jews in the American film industry. Jews made up a high percentage of studio owners and actors. Erens writes that Jews had a "virtual monopoly on producing" and that many major Hollywood producers of the late 1920s had come to the United States from eastern Europe in the wave of Jewish immigration during the late nineteenth and early twentieth centuries. During the 1930s, Hollywood became a refuge for Jewish intellectuals and others fleeing the Third Reich. Many movies during the 1930s and 1940s that dealt with Germany, military preparedness, and war reflect the presence of Jewish writers and directors. So, too, does the patriotic tenor of many American movies. motion pictures and popular culture motion pictures motion pictures, and Jews motion pictures, and anti-Semitism motion pictures, and actors' status Erens, Patricia The Jew in American Cinema 33990 Erickson, Paul Help or Hindrance? The History of the Book and Electronic Media David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
95-116 The author begins by writing that "the late D. F. McKenzie ... defined bibiography [in 1985] as 'the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception.' He went on to define texts to include 'verbal, visual, oral, and numeric data, in the form of maps, prints, and music, of archives of recoorded sound, of films, videos, and an computer-stored information, everything in fact from epigrapy to te latest forms of discography. There is no evading the challenge which those new forms have created.' This essay will discuss the ways in which bibliography and its sibling discipline, the history of the book -- the study of the physical, technological, economic, and cultural conditions of reading, authorship, and publishing -- have in many respects evaded the very challenges for the discipline that McKenziee raised over sixteen years ago." (95)
Erickson's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. books, periodicals, newspapers print culture print v. nonprint digital media books, electronic books, and new media bibliographies books, history of bibliography, as a discipline printing audiences audiences, and books books print Erickson, Paul Help or Hindrance? The History of the Book and Electronic Media 3380 Ernst, Martin L. Electronics in Commerce Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
336-49 When this piece appeared in Scientific American (Sept. 1982), the world of commerce was much more automated than the manufacture of goods. The electronics revolution was already changing banking and transportation, what with credit cards and electronic airline reservations. Ernst, notes though, that this transformation has not been without problems. computers information technology computers and the Internet transportation aeronautics and space communication electronics revolution air travel, and electronics revolution finance, and electronics revolution information technology, and finance capitalism, and electronics revolution automation air travel capitalism electronic media finance labor Ernst, Martin L. Electronics in Commerce 15610 Ernst, Morris L. The First Freedom New York Macmillan Company
1946
Ernst was a foe of censorship, including motion picture self regulation. In this work, Ernst criticized the concentration of power in the hands of a few studios. He called on the government to break the power of the large studios. motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and First Amendment motion pictures, and freedom motion pictures, and studio system Ernst, Morris L. The First Freedom 6210 Ernst, Morris L. & Alexander Lindey The Censor Marches On: Recent Milestones in the Administration of the Obscenity Law in the United States New York Doubleday, Doran & Company, Inc.
1940
This book is a tour-de-force against censorship, written in the early months of World War II. Chapters are devoted to “Sex and Literature,” theater, “The Censor and the Movies” (two chapters), “Freedom of the Air,” “Art and Censorship,” birth control (two chapters), “Nudism and the Law,” “Who Is the Censor?”, and “The Case Against Censorship” (two chapters).
This book discusses specific books, films, and cases. In their consideration of movies, the authors write: “Faith in the destiny of man means giving him the privilege of choice between right and wrong, and trusting him to choose the right. If he’s headed for perdition, putting blinders on him or plugs in his ears will not stop him....”
Morris and Lindey argued that part of the blame for the lack of freedom of expression in film lay with the movie industry: “Vacillating, jittery, bank-ridden, lacking vision and leadership, never much concerned with the freedom of expression or the spread of ideas, Hollywood has been content to string along with the administration. Only here and there has a voice been raised in opposition.”
The book has an interesting discussion of Professor Mamlock, a film produced in Russia that showed Nazi persecution of Jews. It was banned in Ohio for two months and police refused to let be shown in Rhode Island.
On the Production Code, the authors write: “The trouble with the code is the trouble with obscenity statutes. Its mandates are shot through with generalities; its social policy is one of hypocrisy and hush-hush; its criteria are predicated on the susceptibilities of morons; its effect is one of forcible suppression; it lends itself readily to abuse; and above all, it creates a viciously false picture of life.” The latter point is also later made by Gregory Black in Hollywood Censored (1994), and Catholic Crusade Against the Movies (1997).
The book by Ernst and Lindey was part of a then growing literature calling for greater freedom for the screen -- e.g., Mortimer Adler, the Hutchins Commission. Of course movies gained protection under the First Amendment in 1952 in the Miracle case. self-regulation Production Code PCA Production Code (motion pictures) Production Code (motion pictures) values obscenity sexuality freedom law values religion law censorship and ratings regulation Production Code (1930) nudity motion pictures First Amendment motion pictures censorship, and motion pictures motion pictures, and censorship regulation, and motion pictures First Amendment, and motion pictures freedom of expression, and motion pictures nudity, and motion pictures Production Code Administration (PCA) art, and censorship censorship, and art art censorship obscenity, and motion pictures motion pictures, and obscenity obscenity, and new media Ernst, Morris L. & Alexander Lindey The Censor Marches On: Recent Milestones in the Administration of the Obscenity Law in the United States 29490 Eszterhas, Joe Hollywood Animal: A Memoir New York Alfred A. Knopf
2004
This 736-page memoir has no index. Eszterhas, once a heavy smoker, discusses his battle with throat cancer in the last chapter (701-36), and his Op-Ed piece for the New York Times in which he asked Hollywood to stop making motion pictures that showed smoking onscreen (in the New York Times piece he had acknowledged that he had added dialogue to Basic Instinct designed to encourage people to smoke). Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories motion pictures motion pictures, and popular culture Basic Instinct (1992) Showgirls (1995) values motion pictures, and values values, and motion pictures motion pictures, and smoking smoking, and motion pictures Eszterhas, Joe Hollywood Animal: A Memoir 26270 Eszterhas, Joe Hollywood's Responsibility for Smoking Deaths New York Times
Aug. 9, 2002
A A17 See also: violence See also: sexuality Eszterhas, who had recently been diagnosed with cancer, here describes himself as having been a militant smoker and confesses that in working on the script for the movie Basic Instinct (1992), starring Michael Douglas and Sharon Stone, he had given Stone dialogue designed to encourage viewers to smoke. substance abuse motion pictures motion pictures and popular culture media effects motion pictures, and smoking substance abuse, and smoking substance abuse, and tobacco Basic Instinct (1992), and smoking media effects, and smoking in movies Basic Instinct (1992) drug abuse Eszterhas, Joe Hollywood's Responsibility for Smoking Deaths 11100 Etheredge, Lloyd S. ed. and intro. Politics in Wired Nations: Selected Writings of Ithiel de Sola Pool New Brunswick, NJ and London Transaction Publishers
1998
This volume contains a selection of Ithiel de Sola Pool's writings over 40 years on systems of communication, and especially on communications technology's impact on society and politics. Chapters are divided into three parts. 1) Political Communication; 2) Societal Impact; and 3) Technology, Policy, and Freedom. technology nationalism communication revolution community democracy freedom general studies Pool, Ithiel de Sola democracy and media communication revolution freedom, and communication technology electronic media aeronautics and space communication satellites nationalism and communication communism, and mass media propaganda telephones telecommunications television telegraph communism technology and society Etheredge, Lloyd S. ed. and intro. Politics in Wired Nations: Selected Writings of Ithiel de Sola Pool 34190 Etzioni, Amitai Are Virtual and Democratic Communities Feasible? Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
85-100 Etzioni asks "whether communities and democracy can thrive in the new world in cyberspace." This question requires consideration of whether or not "there can be virtual communities" and second "can these -- and other (including offline) communities -- govern themselves in a democratic way by drawing on new developments in cyberspace?" (85)
The volume in which Etzioni's chapter appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality community democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace Internet Etzioni, Amitai Are Virtual and Democratic Communities Feasible? 6770 Eugster, Ernest Television Programming Across National Boundaries: The EBU and OIRT Experience Dedham, MA Artech House, Inc.
1983
“For two decades after the Second World War,” writes the author, “mankind was devoted, at least in principle, to the concept of a free flow of information across national boundaries....
“In the past two decades, however, there has been a retreat from the free flow of information concept, primarily because of the revolutionary change that has occurred in the international political system....” This study looks at the European Broadcasting Union (EBU) and the International Radio and Television Organization (OIRT). nationalism non-USA Europe Information Age nationalism and communication television radio information flow Euorpean Broadcasting Union International Radio and Television Organization television, and Europe satellites aeronautics and space communication nationalism, and television nationalism, and satellite television nationalism, and radio nationalism, and satellites Eugster, Ernest Television Programming Across National Boundaries: The EBU and OIRT Experience 7790 Evans, Christopher The Micro Millennium New York Viking Press
1979
Evans writes: “There are four important features of the Industrial Revolution which need to be identified and considered, for they will turn out to be extremely significant for the next great turning point which mankind is rapidly approaching -- the Computer Revolution. The first of these concerns the scale and scope of change: the Revolution brought immense shifts in all aspects of human society, affecting the individual, his family, his neighbours, his domestic and working environment, his clothes, his food, his leisure time, his political and religious ideals, his education, his social attitudes, his life-span, even the manner of his birth and death. The second feature is that these changes took place with great rapidity, remoulding the face of our society in less than a hundred years. Thirdly, once the process of the Revolution was fully under way, its dynamic growth was remorseless, and no power, no man or combination of men, could set it back against its course....
“Finally, and perhaps the most interesting of the four points, hardly anyone -- certainly no one who could do anything about it -- foresaw its momentous coming.. Only the gallantly misguided Luddites, who feared a loss of affluence from the coming of the machines, seemed to have any glimmering of insight into what was about to happen.”
This work might be read in conjunction with other works that talk about communication and a “second industrial revolution.” It is interesting view of how some (in 1979) saw the computer before the spread of personal computers or the Internet. computers preservation communication revolution history, and new media computers communication revolution, and second industrial revolution history history computers and the Internet Luddism Industrial Revolution change, acceleration of history, break with second industrial revolution communication revolution computer revolution change Evans, Christopher The Micro Millennium 9710 Evans, Gary In the National Interest: A Chronicle of the National Film Board of Canada from 1949 to 1989 Toronto University of Toronto Press
1991
This work parallels work on American film censorship by such writers as Frank Walsh, Gregory Black, and Stephen Vaughn. It discusses efforts to censor specific films and themes -- e.g., drug addition, racism in South Africa, Canadian history, and more. law law censorship and ratings non-USA regulation motion pictures television censorship, and motion pictures censorship, and Canadian motion pictures regulation, and motion pictures Canada censorship motion pictures, and censorship Canada, and film censorship Evans, Gary In the National Interest: A Chronicle of the National Film Board of Canada from 1949 to 1989 11600 Evans, Gary John Grierson and the National Film Board: The Politics of Wartime Propaganda, 1939-1945 Toronto University of Toronto Press
1984
John Grierson was a central figure in the Canadian documentary film movement and during World War II he attempted to rally Canadian through a national propaganda agency, the National Film Board. This book examines Grierson's work during the war. regulation censorship and ratings public relations advertising law law censorship and ratings non-USA motion pictures censorship censorship, and Canada Canada propaganda censorship, and Canadian motion pictures regulation, and Canadian motion pictures regulation motion pictures, and censorship Canada, and film censorship Grierson, John, and censorship advertising and public relations Grierson, John Evans, Gary John Grierson and the National Film Board: The Politics of Wartime Propaganda, 1939-1945 2850 Evans, Lawrence B. Industrial Uses of the Microprocessor Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
138-51 See also: office Such "process industries" as pulp paper, chemical, and food have been growth industries in recent years, the author notes, and have also been on the cutting edge of new developments in automation, particularly "new control technology." Evans, then a professor of Chemical Engineering at MIT, discusses "how the revolutionary advances in electronics will greatly accelerate evolutionary change in industrial process control." This piece appeared first in Science magazine (March 18, 1977). computers microprocessing communication revolution second industrial revolution communication revolution microprocessors microelectronics computers and the Internet control revolution microelectronics revolution microprocessors, and industry automation artificial intelligence and biotechnology microprocessors capitalism, and microprocessors labor labor, and microprocessors capitalism Evans, Lawrence B. Industrial Uses of the Microprocessor 28700 Evensen, Bruce J. God's Man for the Gilded Age: D. L. Moody and the Rise of Modern Mass Evengelism New York Oxford University Press
2003
When evangelist Dwight L. Moody on the eve of the twentieth century, he was one of the most widely recognized people of nineteenth-century America. He had been a Chicago shoe salesman who had never gone beyond the fourth grade. Yet he invented a system of using mass media that latter-day evangelists such as Billy Graham inherited and perfected. Evensen focuses on four years during the 1870s when Moody created a connection between mass media and evangelism. Moody began this bond in Great Britain in 1873 and then moved to America, to Brooklyn, New York, Philadelphia, Boston, and Chicago. Newspapers, suffering from economic depression and in need of circulation, helped to turn Moody’s city-wide crusades into communal spectacles. Critics accused Moody of using man-made machinery to aid his revivals but Moody responded that it was better to advertise than to minister to empty churches. The urban press helped to make Moody into a celebrity and turn his revivals into civic entertainment of unprecedented size. Evensen’s work demonstrates how this popular and important evangelist helped to created modern media culture. books, periodicals, newspapers religion values religion, and mass media newspapers, and religion religion, and newspaper news and journalism audiences audiences, and religion religion, and audiences newspapers news Evensen, Bruce J. God's Man for the Gilded Age: D. L. Moody and the Rise of Modern Mass Evengelism 28740 Evensen, Bruce J. Truman, Palestine, and the Press: Shaping Conventional Wisdom at the Beginning of the Cold War Westport, CT Greenwood Press
1992
Evensen, a former Middle East correspondent, writes that his interest in "the relationship between policymaking, the press and the public in the construction of the Truman administration's Cold War Palestine policy began in the spring of 1983" when he was "based in West Jerusalem working out of the Binyanei Haooma, the Israeli convention center, that served as headquarters for news bureaus serving much of the Western world." Using a wide range of archival materials as well as published sources, Evensen examines the interaction between the Truman administration and the press in the formulation of a policy regarding Palestine. The author is especially insightful in explaining how reporters construct their narratives of news events. This book grew out of Evensen's doctoral thesis at the University of Wisconsin, Madison. It is part of Greenwood Press's Contributions in America History series (No. 144), Jon L. Wakelyn, Series Editor. nationalism news and journalism nationalism and communication books, periodicals, newspapers newspapers newspapers, and foreign policy presidents and new media Truman, Harry Truman administration Truman, Harry, and newspapers non-USA news, and values values, and news news, and Middle East Middle East news, and Palestine Palestine Palestine, and news Israel news, and Israel Israel, and news Truman administration, and Israel Truman administration, and Palestine audiences audiences, and newspapers news values Evensen, Bruce J. Truman, Palestine, and the Press: Shaping Conventional Wisdom at the Beginning of the Cold War 28730 Evensen, Bruce J. When Dempsey Fought Tunney: Heroes, Hokum, and Storytelling in the Jazz Age Knoxville University of Tennessee Press
1996
Evensen uses the 1926 heavyweight championship fight between Jack Dempsey and challenger Gene Tunney to examine how journalists, advertisers, and public relations people hyped this sporting event and turned it into a spectacle of major proportions. Nationwide, perhaps 39 million people listened to the fight on radio. This well-written book is informative no only on the boxers and the details of their world, but it is insightful about the way modern media helped to create a celebrity culture in sport. celebrity news and journalism radio newspapers books, periodicals, newspapers radio, and sports sports, and newspaper sports, and radio sports, and news news, and sports celebrity culture values, and sports values values, and news advertising advertising and public relations public relations advertising, and sports sports, and advertising public relations, and sports sports, and public relations advertising, and news news, and advertising public relations, and news news, and public relations news, and celebrity culture celebrity culture, and news sports news Evensen, Bruce J. When Dempsey Fought Tunney: Heroes, Hokum, and Storytelling in the Jazz Age 6780 Everson, George The Story of Television: The Life of Philo T. Farnsworth New York Norton
1949
Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories television biography Farnsworth, Philo T. Everson, George The Story of Television: The Life of Philo T. Farnsworth 9230 Ewen, Stuart PR! A Social History of Spin New York Basic Books
1996
See also: violence See also: sexuality Ewen’s history recounts the rise of the public relations industry and the social forces that drove public relations in the first half of the century. It provides an account of how corporate America viewed government and the individual during historic political eras and how the public relations industry responded with programs designed to create positive public opinion or influence government action. Ewen focused on the view of public relations within the industry and within large business enterprises. Public relations, he said, grew out of a need to influence the opinion of an increasingly alienated public and hostile government.
--Phil Glende advertising, and public relations propaganda public relations propaganda advertising public relations advertising propaganda media effects journalism community democracy news and journalism public relations news public relations, and history of advertising democracy and media Glende, Phil news, and public relations public relations, and news critics public relations capitalism capitalism, and public relations media effects, and public relations Bernays, Edward Lee, Ivy propaganda, and World War I World War I, and propaganda Creel, George war World War I Ewen, Stuart PR! A Social History of Spin 1640 Ewen, Stuart// Elizabeth Ewen Channels of Desire: Mass Images and the Shaping of the American Consciousness New York McGraw-Hill
1979
The Ewens discuss the rise of media development and the resulting changes in American society. Their focus is on the trade-offs -- loneliness, the loss of traditional skills, and alienation versus the abundance of goods and the improvements in communication systems and education.
The Ewens write that “As capitalism has evolved a consumption-oriented mass culture, social, economic, and political power have become increasingly coordinated and consolidated. To a large extent, the rise of modern management, communications, production, and distribution has been dependent on the appropriation and mobilization of technical and organizational capacities by a ruling, monopoly-capitalist class, administered by an emergent sector of professional/managerial intelligentsia. This increased coordination at the top levels of society has entailed increasing fractionalization throughout the remaining, popular majority. In this systemic, organizational inequity, the appeal of advertising, for example, must be understood in a cultural context in which the social status, employment, and even survival of people are separated from customary networks of skill and association. In a world of strangers, survival is to a large extent a matter of appearance and surface impressions.” (265)
--Wayne Hayes

Composed of five different essays Channels of Desire: Mass Images and the Shaping of American Consciousness probes the history of America’s consumer and media-based culture. The first essay, “The Bribe of Frankenstein,” provides a short history of mass communication technology from the printing press in the fifteenth century to early filmmaking in the beginning of the twentieth century. The Ewens most interesting section focuses on how the lack of literacy of the populace benefited the church, because it gave clergy complete control over interpretation of the word of God.
The second essay, “Consumption as a Way of Life,” details how goods went from being created in the home, to manufactured by industrial means; this development gave women more leisure time, so full-service department stores sprung up to help women spend their time. Brimming with goods, as well as services such as hairdressers, nurseries, and post offices, department stores were elaborate buildings dedicated to consumption. Also, a history of mail-order catalogs is included in this section.
“City Lights: Immigrant Women and the Rise of the Movies,” (the third essay) explores the role of the cinema in the lives of both young and old women. Because movies were silent, they appealed to non-English speakers. Film watching was one of the few urban activities that immigrant women allowed their daughters to engage in. By teaching immigrants the rules of the new world, while also easing the transition from the old, early silent films played a crucial role in the assimilation of a generation.
At over one hundred pages long, “Fashion and Democracy” is the most detailed and compelling essay in the book. In fact, this essay should have been expanded and turned into its own book. The Ewens examine the rise of fashion in America, with a strong focus on the history of ready-to-wear clothing--specifically blue jeans (whose stitching was inspired by horse blankets)and women’s fashion and undergarments. Women did not wear underwear until the 1850s, because it was considered to be a garment worn by disreputable women.
Channels of Desire ends with an essay on America’s image culture in general. The Ewens focus on three forms of this culture: choice, violence, and ignorance. Choice is an illusion, they believe, because we are merely given the superficial choice to choose between different consumer objects and media products. Our newspapers have too strong a focus on violence (no new insights there) and the news coverage of first Iraq war sugarcoated the war and did not show the real violence, they believe. Americans are obsessed with celebrity and fitness, therefore we are truly ignorant and we choose poor leaders because of it (Ronald Reagan).
Overall, the Ewens rely too heavily on secondary sources-- autobiographies, newspaper articles, magazine articles, other historians’ books -- and not enough on primary sources. Their only primary source seems to be advertisements. And, the book feels disjointed (not surprising since it is a series of five essays). However, Channels of Desire is very well written. It aspires to McLuhanesque brilliance, but never quite gets there.
--Hallie Lieberman advertising, and public relations propaganda public relations propaganda advertising values Hayes, Wayne public relations advertising capitalism capitalism, and advertising critics values, and capitalism values, and advertising values Lieberman, Hallie critics critics, and capitalism critics, and advertising Ewen, Stuart// Elizabeth Ewen Channels of Desire: Mass Images and the Shaping of the American Consciousness 22710 Eysenck, Hans J.// D. K. B. Nias Sex, Violence and the Media London Maurice Temple Smith
1978
See also: violence See also: sexuality This 1978 work deals with television, cinema, and the harmful effects of pornography. values Christianity sexuality motion pictures media effects media violence Catholic Church motion pictures and popular culture pornography media effects media effects, and pornography pornography, and harmful effects Catholics, and pornography pornography, and Catholics television television, and pornography violence violence, and pornography pornography, and violence television, and violence motion pictures, and violence motion pictures, and pornography pornography, and motion pictures critics Eysenck, Hans J.// D. K. B. Nias Sex, Violence and the Media 26240 Fabrikant, Geraldine Atack of the Disruptive Disc; Sales of DVD's Are Challenging the Business of Renting Movies New York Times
April 16, 2001
C (Business Day) C1, C5 This article indicates that increasing numbers of people are preferring to rent DVDs rather than video cassettes, and that rentals of video cassettes may decline even more compared to this challenger. entertainment video cassette recorders (VCRs) entertainment, home magnetic recording video rentals motion pictures home entertainment materials materials videotape VCRs magnetic tape home, and new media home motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies video rentals, and DVDs VCRs, and DVDs DVDs DVDs, and video rentals digital media Fabrikant, Geraldine Atack of the Disruptive Disc; Sales of DVD's Are Challenging the Business of Renting Movies 33090 Fabrikant, Geraldine Box Office Abroad Now More Valuable New York Times
Sept. 28, 1987
D 8 This article explains that in 1987, two major American film companies, Paramount and Universal, began distributing movies in more than 20,000 theaters in China, the first time U.S. studios had been able to market films in that country since the Communist takeover in 1949 audiences nationalism Asia motion pictures nationalism and communication capitalism motion pictures, and capitalism motion pictures, and China non-USA motion pictures, and nationalism motion pictures, and China China theaters theaters, China Fabrikant, Geraldine Box Office Abroad Now More Valuable 41710 Fairbanks, C. M. Illustration and Our Illustrators The Chautauquan
Aug. 1891
13 5 597-601 Fairbanks writes that with "the wonderful advances made in the study and practice of photography in recent years, the work of the engraver has been revolutionized. Mechanical processes have now been devised by means of which pen and ink and pencil drawings may be reproduced in exact facsimile, and drawings done in water color, and even in oil, may be rendered in relief plates, from which impressions with amazing fidelity to the original, may be taken by the ordinary process of printing." (597)
Still, the work of the artist-engraver is superior in some areas. The author says that "despite the beauty of the soft half-tone engravings, the superiority of artistic wood cutting remains unimpaired, and a great part of the best work in our magazines is still produced by the 'painter-engraver,' who is able to preserve the color values and tones of the original as no photographic process is quite able to do as yet. Bright red and yellows in nature will insist on coming out black in photographing, and the darkest blues appear as white, and these errors of the camera the wood engraver can correct." (599) Fairbanks then discusses some of the most prominent illustrators. wood engraving journalism journalism illustrations magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving electricity electricity, and journalism journalism, and electricity electricity, and newspapers newspapers, and electricity illustrations, and newspapers newspapers, and illustrations color color, and photography photography, and color color, and illustrations illustrations, and color duplicating technologies photography, and duplicating technologies duplicating technologies, and engravers duplicating technologies, and illustrations duplicating technologies, and newspapers newspapers, and duplicating technologies illutrations, and duplicating technologies magazines, and duplicating technologies duplicating technologies, and magazines half tones, and duplicating technologies duplicating technologies, and half tones photography, and half tones newspapers, and half tones illustrations Fairbanks, C. M. Illustration and Our Illustrators 110 Fairfield, Sidney The Tyranny of the Pictorial Lippincott's Monthly Magazine
June 1895
861-64 This article laments that fact that increasingly during the preceding decade illustrated material is replacing written text in weekly and even daily publications. Fairfield considers the "written word" to be "the first and the highest expression of thought, and it ever will be." (864) Yet, "the reading public has suddenly become picture-mad." (863-64) He notes that reading material is more in demand if pictures come with it and so urges writers to either learn how to be illustrators or to hire a good illustration. Care needs to be exercised by the writer, however, because the illustrator "often ... takes outrageous license with the truth as written. He is essentially an exaggerator, a perverter of the facts." (864)
The most commonly used picture or illustration has become the woman. Pictures of beautiful women are replacing written text. There was a "glorification of feminine beauty." (863) Where possible, color is used. "The color is laid on thick in those spots and combinations which yield the most striking effect when displayed on the news-stand." (862) As "long as certain publishers insist on putting forth the painted and decorated woman in all manner of impossible costumes with impossible backgrounds, the artists who want to make money can do so by catering to this manufactured taste." (862) Advertising, of course, is a leader in the use of such pictures. Even when publications do not use color, women remain "the one great subject for illustration." (863) These are pictures of the "'up-to-date' girl" and the emancipated woman of the women's movement. "We are daft -- or at least many of us are daft -- over rounded arms, snowy shoulders, lips like wine, radiant cheeks, and all other sensuous allurements of a perfect woman; and as long as we are thus entranced and will buy these things in picture-papers, so long will capital and brains go into partnership to supply the demand." (864) words vs. images magazines, and photography magazines photography photography and visual communication photography, and sexuality sexuality, and photography magazines women women, and photography photography, and women women, and motion pictures motion pictures, and women images vs. words women, and beauty photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines women, and sexuality sexuality, and women advertising advertising, and photography photography, and advertising advertising, and women women, and advertising advertising and public relations news and journalism sexuality Fairfield, Sidney The Tyranny of the Pictorial 33440 Falkenberg, Merrill Brooke Circuits of Exchange: The Myth of Interactivity in Video Art Stanford University
2002
Abstract for this Ph. D. thesis is from UMP ProQuest Digital Dissertations: "What does it mean to describe a video art installation as interactive? This dissertation provides a historical account of several interactive video art installations exhibited in American museums and galleries in the United States from 1969 to the present. Video art is placed within two trajectories -- the post World War II American avant-garde on the one hand, and new media and information technology on the other. Chapter 1 situates video's emergence during a period of mixed reactions to new technologies, as the increased presence of computers contributed to fears that machines would soon replace their human counterparts. During this period of oppositions to the Vietnam War, video activists saw the portable camera, with its capacity for immediate transmission and feedback as a tool for talking back to the 'establishment' by challenging the one-way transmission of broadcast television. This chapter examines video activists' attempts to provide alternative broadcasting in relation to Frankfurt School media critiques. Chapter 2 positions video in the context of other art movements of the late 1960s, such as minimalism and conceptual art, performance and body art and avant-garde film, all of which focused on the interpretive contributions of the viewer. It considers the disparate approaches to video exemplified by artists such as Bruce Nauman, Vito Acconci, Joan Jonas, Dan Graham, Peter Campus and Martha Rosler. Video is identified as a new avant-garde at a time when critics initiated a fundamental reconsideration of the very existence of a post-World War II American avant-garde. Chapter 3 focuses on the work of Bill Viola and Gary Hill. Viola's and Hill's work is explored in relation to the debates surrounding postmodernism and Fredric Jameson's claim video is postmodernism's most distinctive new medium. By the mid-1980s, interactivity no longer implied an effort to create an egalitarian exchange with the viewer but rather referred to the creation of immersive spaces that the viewer temporarily inhabits. This shift called for a greater level of passivity from the viewers, as the challenge of soliciting the viewer's equal participation, remains unresolved." interactivity art video art cameras cameras, potable videotape magnetic recording art, and video interactive media video magnetic tape Falkenberg, Merrill Brooke Circuits of Exchange: The Myth of Interactivity in Video Art 9240 Fallows, James Breaking the News: How the Media Undermine American Democracy New York Random House
1996
Fallows argues that celebrity journalism in Washington relies on crisis coverage that does a disservice to true democratic government. Fallows says political crisis coverage is easy but often irrelevant. This kind of reporting always misses the stories that really matter because celebrity journalists are reporting on politics not policy. This practice has widespread applications, he argues, because journalists throughout the country aspire to or emulate this model of journalism. The journalism itself, he says, relies heavily on speculation and “horse-race” reporting and does not examine policy.
--Phil Glende

James Fallows writes that “This book is an attempt to explain why the values of journalists have changed, how their current practices undermine the credibility of the press, and how they affect the future prospects of every American by distorting the processes by which we choose our leaders and resolve our public problems.” (6)
Fallows believes that journalists, not the news, are becoming more and more important. Those who are best paid and well-known are the journalists least likely to cover news as reporters traditionally have done. Entertainment has become a more important factor than hard reporting. Furthermore, instead of clarifying the news for the public, members of the media make the news harder to understand by choosing to present public life as a contest among scheming political leaders, all of whom the public should view with suspicion, the news media help bring about that result. “The more prominent today’s star journalists become, the more they are forced to give up the essence of real journalism, which is the search for information of use to the public.” (7)
Profits and salability have become the main priorities of editors. They do not focus on a proper journalistic coverage of events anymore but on how those events can make the most profit for newspapers or broadcasting networks. Therefore they do not give enough attention to important events or give too much attention to events that are of minor importance. When journalists are busy covering the news they are already busy looking at what will happen afterwards and move on to the next item before the previous is properly covered. Furthermore, according to Fallows, they have developed the strange habit of wanting to predict the news, something that is unnecessary.
Fallows thinks that it is not too late for journalism to recover itself. However, it has to make a choice whether it wants to cover the news like it used to do or whether it wants to offer people entertainment. The latter option can be quite dangerous. Since journalists are the only ones who can show the people what happens in the world, they have to do it in a sincere way. But now more and more people are not interested in the news anymore which results in the fact that journalists can show whatever they want. This can threaten democracy as a whole. Although reclaiming journalism’s standards is not impossible, a great deal of work remains to be done.
-- Pieter Van Den Berg entertainment, and journalism entertainment celebrity news and journalism community democracy news and journalism journalism television democracy and media critics television, and news celebrity culture, and news journalism, and celebrity celebrity culture television, and celebrity culture celebrity culture democracy, and journalism journalism, and entertainment news, and entertainment entertainment, and journalism Van Den Berg, Pieter Glende, Phil news Fallows, James Breaking the News: How the Media Undermine American Democracy 11800 Faltas, Sami The invention of fibre-optic communications History and Technology: An International Journal
1988
5 1 31-49 The author points out that fibre-optic communication may alter the foundation of the entire information industry. He surveys the history of this technology beginning with the Claude Chappe's optical telegraph in France during the 1790s. A section is devoted to the first optical waveguides , and then a section on masers and lasers (covering the 1950s up to 1970 and the development of a continuous-wave semiconductor laser at Bell Labs. The author then discusses research on glass as a medium of transmission. The article concludes that "besides being different, fibre-optic communications is a rival to older techniques and a threat to the interests vested in them. It is eroding the dominant technological paradigm of telecommunications on two basic counts. First, the physical principles on which the transfer of information takes place. Electronic telephone transmission signals and laser light are both electromagnetic waves, but they have different characteristics. Second, the materials used to enable the transfer of information to take place. So far, electromagnetic communications and information-handling have been chiefly founded on metal conductors. The first major challenge to this material base was the introduction of silicon and other non-metallic substances in semi-conductors, but the technological and economic impact of fibre-optics communications systems, in which metals play only an auxiliary role, is much more significant, especially because of the expected pervasiveness of integrated optics."
The author notes that fiber optics is a relatively new technology -- the basic inventions underlying it had been around about three decades or less at the time of this article; fiber optic transmission lines had been on the market for only about one decade. Using scientific papers and "a few well-researched historical papers," this article examines how fiber optics was invented and the forces that influence scientists in their research -- why the research went in certain directions and not others. computers materials, and silicon corporations corporations fiber optics communication revolution materials fiber optics communication revolution, and second industrial revolution non-USA optical fibers France telegraph telegraph, optical Chappe, Claude lasers masers glass silicon materials revolution second industrial revolution electromagnetic waves metals semiconductors telephones Bell Laboratories optical fibers, and cable telephones, electronic computers and the Internet fiber optics, origins optical fibers, origins lasers, and fiber optics materials revolution communication revolution materials electricity Faltas, Sami The invention of fibre-optic communications 41330 Fanning, R. S. Advertising Architecture American Architect
Sept. 6, 1916
110 2124 147-48 art advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing billboards posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards electricity electricity, and electric signs advertising, and architecture color, and electricity electricity, and color advertising Fanning, R. S. Advertising Architecture 3140 Fano, Ester Early American Technological Edens [review essay] History and Technology
1987
3 3 329-38 This review essay of Howard P. Segal's book Technological Utopianism in American Culture (1985), discusses not only Segal's book but other writing on this topic. Segal examined the writings of more than two dozen authors, most between 1883 and 1933. technology utopianism technology and society values utopianism, and technology technology, and utopianism values, and technology critics Segal, Howard technological determinism technological utopianism, and literature survey values Fano, Ester Early American Technological Edens [review essay] 25350 Farber, Stephen A Major Studio Plans to Test the Rating System New York Times
Sept. 4, 1990
C 14C This article indicates that Universal will test the rating system with its movie Henry and June (1990). This film was the first to received an NC-17 after the movie industry adopted this new rating category. music Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation corporations sexuality sexuality motion pictures, and sexuality corporations corporations homosexuality Classification and Rating Administration (CARA) theaters MCA Universal Pictures theater owners censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures Music Corporation of America (MCA) law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture Wasserman, Lew CARA Heffner, Richard Valenti, Jack Valenti, Jack, and NC-17 NC-17 rating system (U. S.), and NC-17 movie, Henry and June motion pictures, and sex motion pictures, and sex lesbianism motion pictures, and lesbianism motion pictures, and homosexuality motion pictures, and homosexuality homosexuality CARA, and rating controversies rating system (U. S.), and controversies Wasserman, Lew, and NC-17 Universal Pictures, and NC-17 Miller, Henry Kaufman, Philip MCA, and NC-17 MCA, and Cineplex Odeon theater chain theater owners, and NC-17 NC-17, and theater owners Pollock, Tom, and Universal Universal Pictures, and Tom Pollock Pollock, Tom, and NC-17 Kaufman, Philip, and Henry and June Heffner, Richard, and NC-17 Heffner, Richard, and Henry and June Heffner, Richard, and rating system (U. S.) NC-17 NC-17, and origins Farber, Stephen A Major Studio Plans to Test the Rating System 20260 Farber, Stephen The Movie Rating Game Washington, D. C. Public Affairs Press
1972
The author served on the CARA under a one-year fellowship program. He was interviewed by Jack Valenti in December, 1969, and worked on CARA during 1970-71(?). He was 26 at the time, and had just completed a M.A. in film history from the University of California. He says he was at odds with other CARA members. He provides good information on the early members of CARA and how CARA worked. He concludes that "the rating system must be either drastically overhauled or abolished completely." Classification and Rating Administration classification self-regulation self-regulation Production Code Classification and Rating Administration (CARA) X-rated films censorship and ratings rating system (U.S.) rating system (U. S.) values Production Code (motion pictures) Production Code (motion pictures) values religion law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures motion pictures, and classification classification, and motion pictures classification, and origins of rating system (U. S.), and origins of rating system (U. S.), and motion pictures motion pictures, and rating system (U. S.) Production Code, and rating system (U. S.) rating system (U. S.), and Production Code (motion pictures) CARA CARA, and members CARA, and Production Code (motion pictures) X-rating, and motion pictures Farber, Stephen The Movie Rating Game 17690 Farber, Stephen Testimony Movie Ratings and the Independent Producer Committee on Small Business, House of Representatives, Ninety-Fifty Congress, First Session Subcommittee on Special Small Business Problems April 14, 1977 78-90 Washington, D. C.: Government Printing Office, 1977 Farber, who had worked for the movie industry's Classification and Rating Administration (CARA) as an intern and who had written a book entitled The Movie Rating Game (1972), testified before this hear which heard charges rated movies from indepedent producers more severely that it did films from major studios who were MPAA members. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U. S.) archives government law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA Heffner, Richard motion pictures and popular culture motion pictures classification, and motion pictures motion pictures, and classification classification, and independent producers CARA, and independent producers rating system (U. S.) motion pictures, and Congress hearings Valenti, Jack, and Congress Heffner, Richard, and Congress rating system (U. S.), and enforcement rating system (U. S.), and X-rating CARA, and X-rated films Farber, Stephen Movie Ratings and the Independent Producer 25030 Farber, Stephen Movies: Why Do Critics Love These Repellent Movies? Point: Moviegoers Looking for Guidance Are Becoming Alienated by Reviewers Penchant for Grotesque Violence Los Angeles Times
March 17, 1991
Calendar 5 Author Stephen Farber wrote in this article that “the unqualified enthusiasm for ... grisly films raises nagging questions about the skewed values of today’s critics.” motion pictures media effects media violence motion pictures and popular culture violence motion pictures, and violence violence, and movie reviewers violence, and motion pictures movies viewers, and violence Farber, Stephen audiences audiences, and violence Farber, Stephen Movies: Why Do Critics Love These Repellent Movies? Point: Moviegoers Looking for Guidance Are Becoming Alienated by Reviewers Penchant for Grotesque Violence 7800 Farnsworth, Clyde H. Britain’s Automation Pioneer Computes Future New York Times
March 17, 1965
66 See also: office This article is an interview with Sir Leon Bagrit, a British expert on automation. He argued that only those countries that adapted quickly to automation would survive industrial competition. Britain, he feared, had lagged behind, having fewer computers per capita than the United States or Western Europe. He distinguished between the mechanization of the Industrial Revolution that forced people into “subhuman work,” and automation, which helped mankind realize its full potential. Automation represented “the greatest change in the whole history of humankind.” It was a process that would change life so dramatically that within a few decades the pre-1960 world would “as rural as England before the Industrial Revolution.” (Farnsworth paraphrasing Bagrit) See also Sir Leon Bagrit's The Age of Automation (1965). computers preservation communication revolution history, and new media communication revolution, and second industrial revolution non-USA history history Great Britain computers and the Internet artificial intelligence and biotechnology computers, personal automation computers, and automation second industrial revolution history, break with Great Britain Great Britain, and computers Great Britain, and automation Bagrit, Leon computers labor labor, and automation communication revolution Farnsworth, Clyde H. Britain’s Automation Pioneer Computes Future 33020 Farnsworth, Clyde H. Jack Valenti's State Department New York Times
Dec. 18, 1985
B B12 This article notes that in 1985, the Motion Picture Association of America (MPAA) ran what some called a small “state department” with representatives in sixty nations. Hollywood movies played in more than 100 countries, and MPAA president Jack Valenti called them “America’s secret weapon the supreme visual force in the world, dominating screens in theaters and in living rooms.” Motion Picture Association of America (MPAA) MPAA audiences nationalism motion pictures nationalism and communication theaters motion pictures, abroad motion pictures, and U.S. foreign policy Valenti, Jack Reagan, Ronald, and motion pictures presidents and new media Reagan administration Reagan, Ronald Farnsworth, Clyde H. Jack Valenti's State Department 160 Faunce, W. H. P. Transient Knowledge and Permanent Education Outlook
Aug. 22, 1914
962 The author, who was president of Brown University, says that the "chief need of American education is background. We are swept away by a desperate desire for modernity.... The worship of the contemporaneous, which is really the extemporaneous, means loss of all perspective, disregard of history, callow judgments, superficial reforms, and ready acceptance of panaceas." He argues for the effective teaching of Greek and Latin. He says that "those studies -- or others devoted to the interpretation of great thinking into modern speech and action -- at least will save us from education given solely by short stories and moving pictures, and from the naive conviction that our age is the only one worth knowing." history modernity modernity, and motion pictures motion pictures, and modernity motion pictures history and new media motion pictures, and history history, and motion pictures Faunce, W. H. P. Transient Knowledge and Permanent Education 2990 Fearing, Franklin Influence of the Movies on Attidues and Behavior
Nov., 1947
70-79 See also: violence See also: sexuality See filed under Annals.... (1947). Fearing begins by saying that "with a few special exceptions, everybody -- social scientists, movie makers, and laymen -- seems to agree that there are profoundly important relationships between motion pictures and human behavior. The initially important question is concerned with the way in which these relationships are to be conceived." Fearing studied the effects of educational films during World War II. Of educational films, he argues that "their use and the studies which have been made regarding their effects present unequivocal evidence that motion pictures do affect human attitudes." nationalism nationalism public relations advertising propaganda values motion pictures education law censorship and ratings censorship war audiences motion pictures and popular culture regulation, and motion pictures audiences, and motion pictures motion pictures, and audiences censorship, and motion pictures motion pictures, and censorship critics values values, and motion pictures motion pictures, and values media effects media effects, and motion pictures propaganda, and motion pictures education, and motion pictures World War II World War II, and propaganda films nationalism and communication nationalism, and motion pictures military communication regulation advertising and public relations Fearing, Franklin Influence of the Movies on Attidues and Behavior 16450 Feaster, Felicia The woman on the table: Moral and medical discourse in the exploitation cinema Film History
1994
6 3 340-54 See filed under Film History articles (1994). This article examines moral and medical discourse about women in exploitation movies, films that often played outside mainstream theaters and without the approval of the mainstream motion picture industry. "Medical discourse in the exploitation cinema is at the core of the genre's imagery, narrative and conventions," Feaster writes. audiences self-regulation Production Code motion pictures, and sexuality sexuality exploitation circuit women, and new media women values Production Code (motion pictures) Production Code (motion pictures) sexuality pornography sexuality exploitation circuit values religion law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and sex motion pictures, and history of sex nudity motion pictures, and nudity censorship, and motion pictures motion pictures, and censorship motion pictures, and exploitation circuit pornography, and motion pictures motion pictures, and pornography pornography, and history of theaters motion pictures, and porn theaters Production Code, and exploitation circuit motion pictures, and childbirth motion pictures, and venereal disease women, and exploitation circuit exploitation circuit, and women motion pictures, and lesbianism motion pictures, and drug use Feaster, Felicia The woman on the table: Moral and medical discourse in the exploitation cinema 2120 Febvre, Lucien Paul Victor Geoffrey Nowell-Smith and David Wootton eds.// trans. by David Gerard) The Coming of the Book: The Impact of Printing, 1450-1800 (L'apparition du livre) London N. L. B.
1976
This book is in the Foundation of History Library Series. values print printing non-USA Hayes, Wayne books, periodicals, newspapers printing press books values, and printing press values Febvre, Lucien Paul Victor Geoffrey Nowell-Smith and David Wootton eds.// trans. by David Gerard) The Coming of the Book: The Impact of Printing, 1450-1800 (L'apparition du livre) 27260 Federal Communications Commission The V-Chip: Putting Restrictions on What Your Children Watch
April 25, 2002
Nov. 7, 2005 http://www.fcc.gov/cgb/consumerfacts/vchip.html This explanation of the V-chip, and how it works is on the website of the Federal Communications Commission. Congress mandated that new television sets must have the V-chip which allowed parents to block violent or other types of entertainment they felt to be inappropriate for their children. For the V-chip to work, of course, depended on the television industry adopting a rating system to which the V-chip could be calibrated. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Federal Trade Commission (FTC) Federal Communications Commission (FCC) CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) television, and V-chip violence telecommunications censorship and ratings rating system (U.S.) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric motion pictures regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture television V-chip FCC FCC, and V-chip V-chip, and FCC Telecommunications Act (1996) Telecommunications Act (1996), and V-chip rating system (U. S.) rating system (U. S.), and V-chip television, and V-chip V-chip, and television V-chip, and motion pictures motion pictures, and V-chip V-chip, history of TV Parental Guidelines TV Parental Guidelines Monitoring Board V-chip motion pictures and popular culture television TV Parental Guidelines television, and rating system (U. S.) motion pictures, and rating system (U. S.) rating system (U. S.), and television FTC National Cable Television Association MPAA MPAA, and television TV rating system (U. S.) violence Federal Communications Commission The V-Chip: Putting Restrictions on What Your Children Watch 27250 Federal Communications Commission V-Chip: Viewing Television Responsibly
April 3, 2002
Nov. 7, 2005 http://www.fcc.gov/vchip/ The Federal Communications Website explains the V-chip and the television rating system. It discusses the TV Parental Guildelines and the TV Parental Guidelines Monitoring Board. classification self-regulation Federal Communications Commission (FCC) CARA television, and V-chip violence telecommunications censorship and ratings rating system (U.S.) motion pictures regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture television V-chip FCC FCC, and V-chip V-chip, and FCC Telecommunications Act (1996) Telecommunications Act (1996), and V-chip rating system (U. S.) rating system (U. S.), and V-chip television, and V-chip V-chip, and television V-chip, and motion pictures motion pictures, and V-chip V-chip, history of TV Parental Guidelines TV Parental Guidelines Monitoring Board violence Federal Communications Commission V-Chip: Viewing Television Responsibly 13410 Federal Council of the Churches of Christ in America The Public Relations of the Motion Picture Industry: A Report by the Department of Research and Education, Federal Council of the Churches of Christ in America New York n.p.
[c1931]
This work discusses public relations tactics used by the MPPDA and Will H. Hays to divide groups critical of the movie industry such as the PTA. Motion Picture Association of America (MPAA) self-regulation Production Code PCA Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA MPPDA motion pictures and popular culture motion pictures motion pictures, and public relations motion pictures, and critics MPPDA, and discrediting critics Production Code (motion pictures) Federal Council of the Churches of Christ in America The Public Relations of the Motion Picture Industry: A Report by the Department of Research and Education, Federal Council of the Churches of Christ in America 27090 Federal Trade Commission Excepts from the Violence Report New York Times
Sept. 12, 2000
A 24 See also: violence See also: sexuality These are excepts from a Federal Trade Commission report that revealed that movie studios, music producers, and video game makers marketed graphically violent entertainment to very young children. Such studios as MGM/United Artists, Columbia TriStar, Disney, frequently targeted children, some as young as 10, for violent, adult-oriented movies, music, and electronic video games, the FTC discovered. They used advertising, comic books, and cartoon programs to reach children. Both President Bill Clinton and Vice President Al Gore threatened to support strong regulatory legislation unless such advertising stopped. Motion Picture Association of America (MPAA) classification MPAA self-regulation Federal Trade Commission (FTC) CARA advertising, and public relations Valenti, Jack censorship and ratings propaganda public relations motion pictures media effects media violence violence FTC censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures, and children children, and media children, and violence motion pictures, and violence advertising advertising, and motion pictures advertising, and children advertising, and movie violence media effects FTC, and motion pictures motion pictures, and FTC Valenti, Jack, and violence Valenti, Jack, and children Valenti, Jack, and advertising video games video games, and children children, and video games rating system (U. S.), and controversies video games rating system (U. S.), and children children, and music rating system (U. S.) violence, and motion pictures violence, and video games violence, and children violence, and music Federal Trade Commission Excepts from the Violence Report 27420 Federal Trade Commission Marketing Violent Entertainment to Children: Self-Regulation and Industry Practices in the Motion Picture, Music Recording, and Electronic Game Industries
July 20, 2001
Nov. 7, 2005 http://www.ftc.gov/os/2001/07/violencetest.htm A Federal Trade Commission report that revealed that movie studios, music producers, and video game makers marketed graphically violent entertainment to very young children. Such studios as MGM/United Artists, Columbia TriStar, Disney, frequently targeted children, some as young as 10, for violent, adult-oriented movies, music, and electronic video games, the FTC discovered. They used advertising, comic books, and cartoon programs to reach children. Both President Bill Clinton and Vice President Al Gore threatened to support strong regulatory legislation unless such advertising stopped. These findings were presented to Hearings Before the Subcommittee on Telecommunications and the Internet, Committee on Energy and Commerce, United States House of Representatives, Washington, D. C. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Federal Trade Commission (FTC) Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations censorship and ratings propaganda public relations NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures media effects media violence violence Hollywood censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification children, and media violence, and media motion pictures and popular culture television advertising, and children advertising, and violence advertising, and Hollywood Hollywood, and advertising Hollywood, and children Hollywood, and violence FTC FTC, and violence FTC, and children violence, and FTC children, and FTC rating system (U. S.), and controversies MPAA, and rating system (U. S.) rating system (U. S.), and children children, and MPAA rating system (U. S.) advertising Federal Trade Commission Marketing Violent Entertainment to Children: Self-Regulation and Industry Practices in the Motion Picture, Music Recording, and Electronic Game Industries 27430 Federal Trade Commission Marketing Violent Entertainment to Children: Self-Regulation and Industry Practices in the Motion Picture, Music Recording, and Electronic Game Industries: A Report of the Federal Trade Commission Washington, D. C. Federal Trade Commission
Sept. 11, 2000
Nov. 7, 2005 http://www.ftc.gov/opa/2000/09/youthviol.htm This Federal Trade Commission report revealed that movie studios, music producers, and video game makers marketed graphically violent entertainment to very young children. Such studios as MGM/United Artists, Columbia TriStar, Disney, frequently targeted children, some as young as 10, for violent, adult-oriented movies, music, and electronic video games, the FTC discovered. They used advertising, comic books, and cartoon programs to reach children. Both President Bill Clinton and Vice President Al Gore threatened to support strong regulatory legislation unless such advertising stopped. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Federal Trade Commission (FTC) Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations censorship and ratings propaganda public relations NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures media effects media violence violence Hollywood censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification children, and media violence, and media motion pictures and popular culture television advertising, and children advertising, and violence advertising, and Hollywood Hollywood, and advertising Hollywood, and children Hollywood, and violence FTC FTC, and violence FTC, and children violence, and FTC children, and FTC rating system (U. S.), and controversies MPAA, and rating system (U. S.) rating system (U. S.), and children children, and MPAA rating system (U. S.) advertising Federal Trade Commission Marketing Violent Entertainment to Children: Self-Regulation and Industry Practices in the Motion Picture, Music Recording, and Electronic Game Industries: A Report of the Federal Trade Commission 27240 Federman, Joel Media Ratings: Design, Use and Consequences (with assistance of Stephanie Carbone and Linda Evans) Studio City, CA Mediascope, Inc.
1996
This book examines media rating systems in 31 countries, five of which are discussed in some detail: Australia, Germany, Great Britain, Sweden, and the United States. The work also discusses criticism of the MPAA's rating system from several perspective including industry officials, the ACLU, researchers, parental and health organizations. It argues for a rating system that is independent from the political and economic forces that create entertainment. It also urges rating symbols that are descriptive rather than evaluative. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) sexuality V-chip, and television sex sexuality censorship and ratings rating systems (non-USA) rating system (U. S.) music sound recording music motion pictures motion pictures violence media effects violence media violence language video games law censorship and rating system (U. S.) rating system (U. S.) censorship classification non-USA motion pictures and popular culture television rating system (U. S.), and motion pictures motion pictures, and rating system (U. S.) television, and rating system (U. S.) rating system (U. S.), and television video games, and rating system (U. S.) rating system (U. S.), and video games music, and rating system (U. S.) rating system (U. S.), and music Mosk, Richard CARA CARA, and critics rating system (U. S.), and controversies Australia Sweden Great Britain Germany Australia, and rating system (U. S.) Sweden, and rating system (U. S.) Great Britain, and rating system (U. S.) Germany, and rating system (U. S.) Australia, and rating system (U. S.) violence violence, and rating system (U. S.) rating system (U. S.), and violence sex, and rating system (U. S.) language, and rating system (U. S.) rating system (U. S.), and sex rating system (U. S.), and language V-chip media effects rating system (U. S.), and media effects media effects, and rating system (U. S.) television, and V-chip motion pictures, and V-chip Federman, Joel Media Ratings: Design, Use and Consequences 27460 Federman, Joel//Stephanie Carbone//Helen Chen//William Munn comp. and eds. Social Effects of Electronic Interactive Games: An Annotated Bibliography Studio City, CA Mediascope, Inc.
1996
See also: violence See also: sexuality This annotated bibliography pulls together social science research on the effects of video games. Since in 1996, video games were comparatively new -- although already a tremendously lucrative business -- empirical studies on this subject were not as plentiful as research than had been done on the effects of television violence. social science research media effects media violence violence media effects video games video games, and sex video games, and violence media effects, and video games bibliographies bibliographies, and video games media effects, and bibliographies social science research, and video games violence, and social science research violence, and video games violence, and media effects bibliographies, annotated Federman, Joel//Stephanie Carbone//Helen Chen//William Munn comp. and eds. Social Effects of Electronic Interactive Games: An Annotated Bibliography 32440 Fehrman, Kenneth R. and Cherie Fehrman Color: The Secret Influence Upper Saddle River, N. J. Prentice Hall
2000, 2004
Color’s influence has long been viewed as mysterious. It has “astonishing power,” according to a recent account, and its “effects on each of us are vast, but most of us don’t have a clue that they are even happening.” The authors observe that "because it was easier to color-correct a drawing than a photograph, more than 90 percent of book covers before the 1960s were hand-drawn. Electronic scanners changed everything. They provided the ability to scan in an original transparency, remove any unwanted color in specific areas, and produce a perfect four-color film ready for platemaking in a matter of minutes, without any of the telltale brushmakrs that had often been visible in hand-corrected color." (200)
This work cover the use of color in many different design areas. Chapters are devoted to Pigment and Light, Color Myths and Biases, Health, Psychology, Interior Environments, Architecture and Landscape Design, Advertising and Marketing, Fashion and Textile Design, Culture and Society, Color Order Systems, and Pushing the Envelope. censorship avant garde art , color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and design advertising and public relations advertising, and color color, and advertising color, and psychology color, and health color, and culture advertising Fehrman, Kenneth R. and Cherie Fehrman Color: The Secret Influence 33900 Feigenbaum, Edward A.// Pamela McCorduck The Fifth Generation: Artificial Intelligence and Japan's Computer Challenge to the World Reading, MA Addison-Wesley Publishing Company
1983
This book argues that in 1983 the world was at the threshold of a new era in computing. "Knowledge is power, and the computer is an amplifier of that power," they write. "We are now at the dawn of a new computer revolution. Business Week featured it as 'the second computer age.' We view it as the important computer revolution, the transition from information processing to knowledge processing, from computers that calculate and store data to computers that reason and inform. Artificial intelligence is emerging from the laboratory and is beginning to take its place in human affairs." (1) The great challenge to American leadership in this field, the authors believed, was Japan, a country that had set as its national goal to dominate artificial intelligence by the late 1990s. The Japanese "aim not only to dominate the traditional forms of the computer industry but to establish a 'knowledge industry' in which knowledge itself will be a salable commodity like food and oil. Knowledge itself is to become the new wealth of nations." (2) The authors argue that "America needs a national plan of action, a kind of space shuttle program for the knowledge systems of the future." (3) They seek to trace the origins of this field in United States and British research, explain the Japanese plan for a Fifth Generation of computers, and describe "America's weak, almost non-existent response to this remarkable Japanese challenge." To fail to meet this challenged would be to "consign our nation to the role of the first great postindustrial agrarian society." (3) computers Reagan administration nationalism artificial intelligence and biotechnology computers and the Internet strategic computing initiative Reagan administration, and artificial intelligence presidents and new media education computers, and education education, and computers military communication military communication, and strategic computing initiative supercomputers artificial intelligence Japan non-USA Japan, and supercomputers computers, and chips computer chips digital media McCorduck, Pamela Feigenbaum, Edward computers, fifth generation fifth generation computers Japan, and artificial intelligence computers, and Japan artificial intelligence, and Japan information storage Great Britain Great Britian, and computers knowledge v. information nationalism and communication computers Feigenbaum, Edward A.// Pamela McCorduck The Fifth Generation: Artificial Intelligence and Japan's Computer Challenge to the World 3210 Feigenbaum, Edward and Pamela McCorduck The Fifth Generation: Artificial Intelligence and Japan's Computer Challenge to the World Reading, MA Addison-Wesley
1983
This book details Japan's large effort in creating artificial intelligence, setting out its weaknesses and strengths. This work was excerpted in High Technology (June 1983), and in Tom Forester, ed., The Information Technology Revolution (1985). At the time of publication, Feigenbaum was a professor of Computer Science at Stanford, and McCorduck was a journalist. R & D computers nationalism presidents, and new media values research and development war communication revolution second industrial revolution communication revolution materials materials future and science fiction values religion war non-USA military communication Reagan, Ronald Reagan administration microelectronics computers and the Internet nationalism and communication artificial intelligence and biotechnology Japan supercomputers strategic computing initiative microcomputers microelectronics revolution chips, computer, micro computers, fifth generation computers and society Reagan administration, and computers supercomputers future chips, computer computer chips computers Japan, and supercomputers Japan, and artificial intelligence Feigenbaum, Edward and Pamela McCorduck The Fifth Generation: Artificial Intelligence and Japan's Computer Challenge to the World 3200 Feigenbaum, Edward and Pamela McCorduck Land of the Rising Fifth Generation Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
71-83 This article details Japan's effort to create artificial intelligence, setting out its weaknesses and strengths. This is an excerpt from the authors' book, The Fifth Generation: Artificial Intelligence and Japan's Computer Challenge to the World (Reading, MA: Addison-Wesley, 1983). This piece was originally published in High Technology (June 1983). At the time of this piece, Feigenbaum was a professor of Computer Science at Stanford, and McCorduck was a journalist. R & D computers nationalism presidents, and new media research and development war future and science fiction war non-USA computers military communication Reagan, Ronald Reagan administration Japan computers and the Internet nationalism and communication artificial intelligence and biotechnology Japan Japan, and artificial intelligence strategic computing initiative Reagan administration, and computers supercomputers future Japan, and supercomputers Feigenbaum, Edward and Pamela McCorduck Land of the Rising Fifth Generation 10870 Felix, Edgar Television New York McGraw-Hill
1931
television, and history of television television, and origins television, and technology Felix, Edgar Television 12610 Felson, Richard B. Mass Media Effects on Violent Behavior Annual Review of Sociology
1996
22 103-28 See also: violence See also: sexuality This essay by a sociologist reviews several studies on the relationship between violence and mass media: field experiments, natural experiments involving the introduction of television into society, natural experiments involving publicized violence, longitudinal surveys, theoretical explanations of situational effects (cognitive priming, arousal from pornography, sponsor effects, television viewing as a routine activity), and theoretical explanations involving socialization (learning novel forms of behavior, vicarious reinforcement and legitimations, desensitization, messages from pornography). The essay also provide discussion of other meta analyses of media and violence.
Felson’s conclusions are qualified. He agrees with “those scholars who think that exposure to television violence probably does have a small effect on violent behavior.” He also agrees with research indicating that some people are “more susceptible to media influence than others,” and that it is reasonable to assume that “the media directs viewers’ attention to novel forms of violent behavior they might not otherwise consider.”
This essay is also reprinted in Stephen Prince, ed., Screening Violence (New Brunswick, N. J.: Rutgers University Press, 2000), 237-66. syntheses (of research) sexuality meta-analyses media effects media violence violence journalism news and journalism motion pictures and popular culture television motion pictures violence, and television television, and violence violence, and motion pictures motion pictures, and violence news, and violence meta-analyses, media and violence bibliographies bibliographies, and media violence pornography values, and media violence, and pornography pornography, and violence media effects media effects, and television violence media effects, and violence values news bibliographies, and violence Felson, Richard B. Mass Media Effects on Violent Behavior 12320 Fenichell, Stephen Plastic: The Making of a Synthetic Century New York HarperCollins Publishers
1996
This work is written for a popular audience and has neither bibliography nor notes. It does provide an accessible introduction to the history plastic and manifestations in American culture. Three areas are of particular interest for those interested in communication. Chapter 3, “Celluloid Heroes,” discusses celluloid’s early development from John Wesley Hyatt’s patent in 1870 and his effort to create a substitute for ivory billiard balls, to its initial uses in photography by George Eastman, to the development of moving pictures and newsreels. Later in the book, the author talks about plastic’s use in making vinyl records and its impact on the recording industry. Students of radio, radar, and the latter-day Strategic Defense Initiative may also find the author’s brief treatment of Adoph Hitler’s claim that the Germans had invented a “secret weapon” that could bring down airplanes with a beam of electronic energy. corporations SDI photography World War II phonograph motion pictures Hitler, Adolf materials war non-USA material culture plastics sound recording sound recording, and vinyl records celluloid motion pictures and popular culture newsreels newsreels, and celluloid motion pictures, and celluloid Hyatt, John Wesley strategic defense initiative (SDI) death rays Hitler, Adolf, and death rays radio radar automobiles, and plastics cellophane, and motion picture film motion pictures, and cellophane photography and visual communication photography, and celluloid celluloid, and motion pictures celluloid, and photography Du Pont phonograph, and plastics plastics, and World War II World War II, and plastics death rays, and Germany, materials automobiles corporations news transportation news and journalism Fenichell, Stephen Plastic: The Making of a Synthetic Century 3170 Ferguson, Charles H. Chips: The US versus Japan Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
45-55 The author argued that Japan had caught up with the United States in computer software and surpassed the U. S. in certain key areas of hardware. The author at the time of this article was with IBM. He maintained that Japan rivaled America ink chip production because the American microelectronics industry was hindered by an outdated structure. This piece first appeared in Technology Review (Aug. - Sept., 1983). computers nationalism corporations corporations labor communication revolution second industrial revolution communication revolution materials materials computers non-USA office office, and new media office microelectronics computers and the Internet microelectronics revolution chips, computer Japan nationalism and communication infrastructure IBM computers, and software computer chips nationalism, and computers Japan, and supercomputers Ferguson, Charles H. Chips: The US versus Japan 11230 Ferguson, Eugene S. Bibliography of the History of Technology Cambridge, MA Society for the History of Technology and MIT Press
1968
Ferguson attempts to give "a reasonably comprehensive introduction to primary and secondary sources in the history of technology." He views the history of technology as part of cultural history. There is much in this annotated bibliography of interest to those interested in the history and social impact of communication technologies. Among the headings are "General Works"; "General Bibliographies and Library Lists"; "Biography"; "Government Publications and Records"; "Manuscripts"; "Periodical and Serial Publications"; "Technology and Culture," and more. Among the subject fields covered are Transportation, from shipping to air and space travel; Energy Conversion, including lighting; the Electrical and Electronic Arts, including power generators, motors, and electronic computers; Materials and Processes, including paper and printing; glass and ceramics; Mechanical Technology, including timekeeping; military technology; and the "Process of Invention and Innovation."
Although published in 1968, this work is an invaluable reference. See also the annual updates published in Technology and Culture. This series began in 1964 and compiles recent scholarship in the history of technology each year. See also the annotated index for the first 25 volumes of Technology and Culture (1959-1984), edited by Barton C. Hacker and published in Technology and Culture, 32, R & D computers Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories time and timekeeping research and development war inventions innovation materials timekeeping, and clocks war bibliographies bibliographies, and technology bibliographies, and printing bibliographies, and electricity bibliographies, and primary collections bibliographies, and timekeeping bibliographies, transportation inventors bibliographies, and computers transportation electricity computers and the Internet books, periodicals, newspapers electronic media timekeeping aeronautics and space communication materials lighting motors biography bibliographies, annotated glass ceramics inventions, and process of military communication satellites Ferguson, Eugene S. Bibliography of the History of Technology 30070 Fernstrom, Ray Low Budget Color Photography of A Swingin' Summer American Cinematographer
May, 1965
46 5 292-95 In this article, the director of photography for "A Swingin' Summer" (1965), Ray Fernstrom, discusses the use of color photography in the making of this low-budget movie that starred sex symbol Raquel Welch. He also covers the use of cameras, zoom lenses, and lighting (both interior and exterior). He talks about shooting a "day for night love scene," that is, a scene supposedly that took place at night but which was filmed during the day. In addition, he covers the "Rembrandt technique" which involved highlighting the area of the movie on which the movie's makers wanted to focus attention. lenses, zoom sex corporations motion pictures, and sexuality sexuality corporations cinematography motion pictures lighting cameras color Technicolor Techniscope Eastman Kodak color, and low budet sex scences motion pictures, and sex sexuality cameras, and zoom lenses zoom lenses movie, A Swingin' Summer A Swingin' Summer Welch, Raquel Welch lighting, and sex scenes color, and sex scenes sex scenes, low budget motion pictures, day for night photography motion pictures, and location shooting location shooting lenses Fernstrom, Ray Low Budget Color Photography of A Swingin' Summer 2700 Ferry, Wilbur H. Must We Rewrite the Constitution to Control Technology? Saturday Review
March 2, 1968
51 9 50-54 The author argues that "the regulation of technology is the most important intellectual and political task on the America agenda.
"I do not say that technology will be regulated, only that it should be.
"My thesis is unpopular. It rests on the growing evidence that technology is subtracting as much or more from the sum of human welfare as its is adding. We are substituting a technological environment for a natural environment."
Ferry sees technology killing privacy. For example, the then proposed supersonic transport plane would damage privacy: "the sonic boom of the SST will daily and nightly waken sleepers; worsen the condition of the sick; frighten tens of millions; induce neuroses; and cause property damage beyond estimate." He also discusses the creation of smog and damager to the environment, and the impace of technology on education. Ferry sees the uncritical linkage on technology and progress as an underlying problem. Ferry at the time was vice president of the Fund for the Republic, Inc. and a staff associate of its Center for the Study of Democracy Institutions in Santa Barbara, CA. technology surveillance progress law, and privacy privacy education community democracy law values technology and society law, and technology privacy, and technology environment, and technology critics democracy and media technology, and progress progress, and technology education, and technology environment Ferry, Wilbur H. Must We Rewrite the Constitution to Control Technology? 5200 Field, Alexander J. French Optical Telegraphy, 1793-1855: Hardware, Software, Administration Technology and Culture
April 1994
35 2 315-47 H. D. Estabrook said in 1913 that the railroad and the telegraph were the “Siamese Twins” of commerce. Field says that “Whereas the economic impact of the railroad has received extensive attention, that of the telegraph has not.” Field notes that economic history texts written between 1960 and 1990 have made few references to the telegraph. Earlier economic historians such as George Rogers Taylor did mention the telegraph but did not fully development its significance. Taylor said in The Transportation Revolution, written in 1951, that “In an age of revolutionary developments in transportation and communication, perhaps the most drastic change resulted from the magnetic telegraph.”
In this article, Field deals primarily with “optical telegraphy” in France. Such a network existed on the east coast of the U.S. and in Britain. In France between 1794 and 1855, this network grew to 530 relay stations cover about 5,000 kilometers. The relay stations were usually 8-10 kilometers apart, situated on high points-- mountains, specially constructed towers, church belfries. They were manned by two operators with telescopes. Each station had three movable arms connected to each other. More detail is given in the article. telescopes non-USA telegraph telegraph, optical transportation railroads Taylor, George Rogers telegraph, magnetic France France, optical telegraph telescopes, and optical telegraph Field, Alexander J. French Optical Telegraphy, 1793-1855: Hardware, Software, Administration 27950 Fielding, Raymond The Technique of Special Effects Cinematography New York Hastings House
1972
1965 This 402-page work is divided into twelve chapters: 1) The Technique Available; 2) Camera Equipment; 3) Glass-Shots; 4) Mirror-Shots; 5) In-the-Camera Matte Shots; 6) Bi-Pack Contact Matte Printing; 7) Optical Printing; 8) Travelling Mattes; 9) Aerial-Image Printing; 10) Rear Projectioon; 11) Front Projection; 12) Miniatures. A substantial bibliography (403-17) and Index follow. projection motion pictures motion pictures and popular culture special effects motion pictures, and special effects special effects, and motion pictures 16mm, and special effects special effects, and 16mm projection, and motion pictures projection, and special effects special effects, and projection special effects, and travelling mattes special effects, aerial-image printing special effects, and optical printing special effects, and miniatures 16mm Fielding, Raymond The Technique of Special Effects Cinematography 6220 Fielding, Raymond ed. and Intro. A Technological History of Motion Pictures and Television Berkeley University of California Press
1967
An anthology from The Journal of the Society of Motion Picture and Television Engineers. The collection is divided into three parts. Part I, “Autobiographical Reminiscences,” has pieces by C. Francis Jenkins (“History of the Motion Pictures,” written in 1920), W. K. L. Dickson, Louis Lumière, and several others. Part II, “Historical Papers -- Motion Pictures,” covers recorded sound, animated cartoons, early movie projectors, “The Historical Motion-Picture Collections at George Eastman House,” the history of nitrocellulose film base, the history of studio lighting, early amateur motion pictures, and Norman O. Dawn’s work with special effects. Part III, “Historical Papers -- Television,” has four essays on the evolution of television and television recording. They were published in 1948, 1954, and 1955.
--SV

This early history of American movies is divided into two parts. The first consists of autobiographical reminiscences by prominent film pioneers, the second of historical papers on motion pictures prepared by engineers and scholars. A prominent place in the development of film’s artistic evolution is given to technological innovation. D.W. Griffith, to take one example, owed as much to portable cameras and improved emulsions as he did to his talent, in the estimation of the authors. They point out that no other medium of artistic expression places so many technological impediments between film maker and viewing public. This necessitates long apprenticeships and collaborative creativity.
--Gordon Jackson Lumiére, Louis Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories special effects non-USA motion pictures motion pictures, and technology motion pictures television motion pictures, amateur motion pictures, and studio lighting motion pictures, and sound cartoons, animated motion pictures, and nitrocellulose film base Eastman, George autobiography Jenkins, Charles Francis Dickson, W. K. L. Edison, Thomas television, and recording motion pictures, and special effects special effects, and Norman O. Dawn Dawn, Norman O., and special effects motion pictures, and technological innovations sound recording cartoons television, and history of Jackson, Gordon motion pictures, and portable cameras Griffith, D. W., and portable cameras cameras, portable cameras Griffith, D. W. Fielding, Raymond ed. and Intro. A Technological History of Motion Pictures and Television 1320 Fielding, Raymond ed. and intro. A Technological History of Motion Pictures and Television: An Anthology from the Pages of the Journal of the Society of Motion Picture and Television Engineers Berkeley University of California Press
1967
Fielding maintains that new technology brings about new forms of motion pictures, new styles, new ways of doing business: “… the artistic evolution of the film has always been intimately associated with technological change, just as it has, in less noticeable fashion, in the older arts. Just as the painter’s art has changed with the introduction of different media and processes, just as the forms of symphonic music have developed with the appearance of new kinds of instruments, so has the elaboration and refinement of film style followed from the introduction of more sophisticated machinery.” [p. viii]
This work is an anthology from The Journal of the Society of Motion Picture and Television Engineers. The collection is divided into three parts. Part I, “Autobiographical Reminiscences,” has pieces by C. Francis Jenkins (“History of the Motion Pictures,” written in 1920), W. K. L. Dickson, Louis Lumiere, and several others. Part II, “Historical Papers -- Motion Pictures,” covers recorded sound, animated cartoons, early movie projectors, “The Historical Motion-Picture Collections at George Eastman House,” the history of nitrocellulose film base, the history of studio lighting, early amateur motion pictures, and Norman O. Dawn’s work with special effects. Part III, “Historical Papers -- Television,” has four essays on the evolution of television and television recording. They were published in 1948, 1954, and 1955.
--SV

This early history of American movies is divided into two parts. The first consists of autobiographical reminiscences by prominent film pioneers, the second of historical papers on motion pictures prepared by engineers and scholars. A prominent place in the development of film’s artistic evolution is given to technological innovation. D.W. Griffith, to take one example, owed as much to portable cameras and improved emulsions as he did to his talent, in the estimation of the authors. They point out that no other medium of artistic expression places so many technological impediments between film maker and viewing public. This necessitates long apprenticeships and collaborative creativity.
--Gordon Jackson theater stage Lumiére, Louis fame fame celebrity celebrity culture words vs. images actors acting motion pictures motion pictures, and technology motion pictures television motion pictures, amateur motion pictures, and studio lighting motion pictures, and sound cartoons, animated motion pictures, and nitrocellulose film base Eastman, George autobiography Jenkins, Charles Francis Lumiére, Louis Dickson, W. K. L. Edison, Thomas television, and recording motion pictures, and special effects special effects, and Norman O. Dawn Dawn, Norman O., and special effects motion pictures, and technological innovation sound recording cartoons Jackson, Gordon motion pictures, and portable cameras Griffith, D. W., and portable cameras cameras, portable censorship and ratings acting, and cameras cameras, and acting motion pictures, and sound recording sound recording, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting acting, and lighting lighting, and acting motion pictures, and stars motion pictures, and celebrity motion pictures, and fame fame, and motion pictures celebrity, and motion pictures celebrity culture lighting, and flame carbon arcs cameras censorship Griffith, D. W. special effects Fielding, Raymond ed. and intro. A Technological History of Motion Pictures and Television: An Anthology from the Pages of the Journal of the Society of Motion Picture and Television Engineers 26550 Film and Television Daily The 1966 Film Daily Yearbook New York np
1966
This Yearbook as a great deal of information about the motion picture industry -- the rating system, international markets, agents and other public relations data. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations Valenti, Jack References, Statistics, Timelines, Maps censorship and ratings rating system (U.S.) rating system (U. S.) propaganda advertising NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification non-USA motion pictures and popular culture MPAA, and rating system (U. S.) rating system (U. S.), and origin Valenti, Jack, and rating system (U. S.) rating system (U. S.), and appeals process voluntarism MPAA, and voluntarism public relations public relations, and rating system (U. S.) public relations, and MPAA MPAA, and public relations MPAA, and Jack Valenti Valenti, Jack, and MPAA MPAA, and international markets trade publication statistics Film and Television Daily The 1966 Film Daily Yearbook 26480 Film and Television Daily The 1969 Film Daily Year Book of Motion Pictures 51st New York Film and Television Daily
1969
This volume, for 1969, was apparently the last published in this series. It has a great deal of information about the motion picture industry including media relations, overseas markets, television, and more. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) propaganda advertising NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification non-USA motion pictures and popular culture MPAA, and rating system (U. S.) rating system (U. S.), and origin Valenti, Jack, and rating system (U. S.) rating system (U. S.), and appeals process voluntarism MPAA, and voluntarism public relations public relations, and rating system (U. S.) public relations, and MPAA MPAA, and public relations MPAA, and Jack Valenti Valenti, Jack, and MPAA MPAA, and international markets trade publication Film and Television Daily The 1969 Film Daily Year Book of Motion Pictures 12630 Film Council of America Sixty Years of 16mm Film, 1923-1983: A Symposium Des Plaines, IL Film Council of America (Evanston, IL)
1954
Twenty-three authors contributed to this symposium which was held on the 30th anniversary of 16-mm film. The essay discuss the medium’s history since its inception in 1923 and speculate about its future in the coming three decades. Paul A. Wagner’s (then president of the Film Council of America) Introduction, “What’s Past Is Prologue...,” gives an overview of 16-mm film and especially how World War II served as a catalyst in the medium’s development and acceptance. Wagner provides good information about the increased use of 16-mm film during the war, and especially in the first seven years after the war.
This work is essentially optimistic about 16-mm film and its authors saw a bright possibilities for use in education, public libraries, museums, churches, government agencies, in labor, and theatrical productions. One author likened the functions of 16-mm prints of feature films to paperback books or the recording of classical music on long-playing records.
Although this work appeared in 1954, two years before the first commercially successful video recorder had been demonstrated (and 17 years before the invention of videocassettes), and at the dawn of the transistor’s impact on communication, it clearly anticipates the impact of these developments. It predicts that quarter-inch magnetic tape will supplant 16-mm film and that “radical” changes will result. Every television set owner will have “electronic playback,” and “since the tape will be lightweight and book-size, and since its cost will be comparable to that of many good books, thousands of retail outlets will handle a large stock.” (Wagner)
This work was published by the Film Council of America, a nonprofit educational organization that promoted the use of audio-visual materials in adult education. R & D libraries nationalism magnetic recording World War II values religion history and new media preservation motion pictures war research and development military communication media effects sexuality media effects violence media effects history information storage materials materials magnetic tape future and science fiction film cinema motion pictures celluloid education democracy community 16mm government history motion pictures and popular culture motion pictures, and 16mm film 16mm film magnetic tape recording magnetic tape recording, video values, and society democracy, and media education, and 16mm film religion, and 16mm film 16mm film, and education 16mm film, and religion nationalism and communication government, and 16mm film public libraries, and 16mm film 16mm film, and public libraries 16mm film, as paperback books television television, and 16mm film history, and new media history, and 16mm film values, and 16mm film sound recording sound recording, and magnetic tape World War II, and 16mm film 16mm film, and World War II 16mm film, and museums media effects, and 16mm film Film Council of America future, and 16mm film future libraries information storage Film Council of America Sixty Years of 16mm Film, 1923-1983: A Symposium 19550 Finch, Christopher Special Effects: Creating Movie Magic New York Abbeville Press
1984
This book is a richly illustrated history special effects technology in motion pictures through the early 1980s. It uses specific movies – King Kong (1933), 2001: A Space Odyssey (1968), Star Wars (1977), Close Encounters of the Third Kind (1977), Blade Runner (1982), Tron (1982), and many others – to discuss innovations in this field. Chapter 21 is devoted to “Simulation,” and speculates that “the time is upon us when the computer will be able to take on graphic tasks of a wholly different order, including the simulation of reality.” (233) A brief concluding chapter also ponders the future of special effects as seen in 1984. The work contains a brief, one-page bibliography, a Glossary, and Index. illustrations computers photography simulations Lucas, George future and science fiction computers motion pictures and popular culture motion pictures motion pictures, and special effects special effects computers and the Internet computers, and motion pictures motion pictures, and computers computers, and special effects special effects, and computers illustrations future, and movie special effects motion pictures, and simulations simulations, and motion pictures Lucasfilm group, and special effects special effects, and Lucasfilm group cameras, and special effects animation motion pictures, and animation special effects, and film stock special effects, and matting systems special effects, and visual effects photography and visual communication future cameras Finch, Christopher Special Effects: Creating Movie Magic 37960 Findlay, Alexander The Wonders of Cellulose Youth's Companion
Jan. 16, 1919
93 3 27-28 In this article, Findlay, who was a professor of chemistry at University College of Wales, talks about "The Way in Which Paper is Made," "Imitation Leather and Mercerized Cotton," " Artificial Silk, Sugar and Alcohol," and "Guncotton, Smokeless Powder and Celluloid." Of celluloid, he writes that "although the investigations that led to the discovery of celluloid were first undertaken with the object of finding a substitute for ivory for the manufacture of billiard balls, celluloid is now used not only for that purpose but also for imitating amber, for making photograph and motion -picture films, combs, knife handles, soap boxes, and innumerable other articles in common use. It is, indeed, the most widely used of all the plastic materials at the present day." However, he notes that celluloid presents a serious fire hazard and can be ignited by the sun's rays or by contact with a hold electric light bulb. materials materials, and celluloid celluloid, and materials celluloid materials, and cellulose motion pictures, and celluloid celluloid, and motion pictures motion pictures Findlay, Alexander The Wonders of Cellulose 1550 Finlay, Nancy American Posters and Publishing in the 1890s American Art Posters of the 1890s New York Metropolitan Museum of Art; Distributed by Harry N. Abrams, Inc.
1987
45-55 Finlay notes that book and magazine publishers readily accepted the poster style during the 1890s and this helps to explains the prevalence of book and magazine posters during this decade. But color printing and photomechanical reproductive techniques may have been even more important in the spread of posters. Magazines as well as paper and clothbound books reflected the poster style. “To understand the poster’s rise and fall in popularity requires some knowledge of how book and magazine posters were distributed and collected, a phenomenon that has never been adequately studied,” the author says. photography print printing news and journalism books, periodicals, newspapers magazines posters photography and visual communication posters, and United States (1890s) color, and posters color color, and printing printing, and color duplicating technologies duplicating technologies, and posters books, and posters magazines, and posters books, periodicals, newspapers books Finlay, Nancy American Posters and Publishing in the 1890s 4930 Finn, Bernard S. The History of Electrical Technology: An Annotated Bibliography New York Garland Publishing, Inc.
1991
Sections headings include “Broad Historical Works”; “Communications” (which includes various media such as telegraphy, radio, radar, sonar, microwaves, and many more); “Power” (e.g., lighting, electrochemistry, motors, generators, etc.); and “Miscellaneous.” networks lighting electricity microwaves sonar radar radio bibliographies bibliographies, and electricity telegraph motors generators networks, electrical lighting, electrical electricity, and history of bibliographies, annotated radio, and bibliographies telegraph, and bibliography radar, and bibliography microwaves, and bibliography motors, and bibliography generators, and bibliography Finn, Bernard S. The History of Electrical Technology: An Annotated Bibliography 5210 Finn, Bernard S. Submarine Telegraphy: The Grand Victorian Technology London Science Museum
1973
This short work (48 pages), by then Curator of the National Museum of History & Technology at the Smithsonian Institute, gives a helpful introduction to this topic. It is nicely illustrated with a map of the cable network worldwide in 1973. non-USA telegraph telegraph, submarine telegraph, submarine (maps) global communication cable, submarine cable, submarine (maps) cable cable, Atlantic cable, transatlantic Finn, Bernard S. Submarine Telegraphy: The Grand Victorian Technology 28840 Finnegan, Cara A. Picturing Poverty: Print Culture and FSA Photographs Washington, D. C. and London Smithsonian Books
2003
Finnegan explores how Farm Security Administration photographs circulated within three different 1930s pictorials, and submits for analysis evidence from the social welfare journal Survey Graphic, the photography annual U.S. Camera, and popular magazine Look. Finnegan claims that during the early years of the photography project, Roy Stryker and the FSA photographers created a visual narrative about rural poverty called the “tenancy story” which emphasized the chronic poverty affecting mostly farm tenants, sharecroppers, and migrant workers. Finnegan traces the tenancy story through the periodicals and examines how the photographs derived multiple and diverse meanings from the accompanying captions and text.

-Michele Kroll reform Roosevelt, Franklin D. photography Kroll, Michele photography and visual communication photography, documentary photography, and New Deal Roosevelt, Franklin, and photography presidents, and new media Farm Security Administration, and photography photography, and Farm Security Administration Stryker, Roy photography, and reform reform, and photography Roosevelt, Franklin administration photography, and magazines magazines, and photography magazines Finnegan, Cara A. Picturing Poverty: Print Culture and FSA Photographs 970 Fiorito, Jack Paul Joray John Thomas Delaney and Robert W. Kolodinsky Unions and Information Technology: From Luddites to Cyberunions? Labor Studies Journal
Winter 2000
24 4 3-34 See also: office The authors surveyed national unions on how information technology was being used. They found, for example, that 89 percent used personal computers, and more than 70 percent of unions reported using a local area network for communications. Word processing software and spreadsheets were used by nearly everyone, but relatively few were using satellite, cable television or video conferencing, according to the survey. The survey involved 75 unions representing 12 million members. Some key findings: “IT use seems to be related to union size, rationalization of union bureaucratic structure, and environmental scanning.” The authors suggested that larger unions have greater the resources and cost-spreading ability to invest in information technology. The complexity of the union structure “probably increases the value of IT to improve communications and coordination.” Further, “unions more attuned to the developments in the external environment are likely to be more aware of the potential for IT applications to their tasks.”
--Phil Glende computers satellites computers Glende, Phil labor labor, and new media computers and the Internet labor, and computers computers, and labor aeronautics and space communication labor, and satellites satellites,and labor labor, and cable television television television, and labor labor, and video conferencing video conferencing, and labor video conferencing Fiorito, Jack Paul Joray John Thomas Delaney and Robert W. Kolodinsky Unions and Information Technology: From Luddites to Cyberunions? 30400 Fischel, Robert Color Film Preferred American Cinematographer
Jan., 1965
46 1 45-46 This article discusses how moving production from videotape to film increased the market for the television series "Science in Action." It notes that many science programs depend heavily on being able to film in color. For example, program dealing with blood, or hematology. The author points out that the full syndication of "Science In Action" was not realized until it went to film becaus "there are simply not enough stations equipped to handle programs syndicated on tape." (45) Another advantage in using film was that it made it easier to record a program on location. The cost for doing a program in color film was about the same as that of doing a program using color videotape. At this time, it was still easier and cheaper to update and edit a program in film. (46) The 30-minute show was film with a Kodak Reflex Special 16mm camera. Sound recording of the program used boom and lavalier microphones and spocketed 16mm magnetic film. cinematography television color videotape 16mm 16mm film, and television television, and 16mm film television, and videotape magnetic sound recording microphones television, and microphones color, and TV film color, and videotape color, and television television, and color cameras television, and 16mm cameras 16mm cameras, and television magnetic recording, and 16mm film 16mm cameras, and magnetic sound recording motion pictures magnetic recording magnetic tape 16mm film Fischel, Robert Color Film Preferred 5330 Fischer, Claude S. America Calling: A Social History of the Telephone to 1940 Berkeley and Los Angeles University of California Press
1992
Fischer attempts to assess how the telephone affected personal and social life, and to use the telephone to gain insight into “modernity.” The opening chapter reviews contemporary thinking about technology and modern life. One point made is that religious leaders and other conservatives looked on modern technology -- automobiles, electric lights, radio, movies, etc. -- as threatening people moral fiber; they feared such conveniences would make people soft. In this opening chapter, Fischer discusses and critiques such other authors who have written about technology and society as Albert Borgmann, Siegfried Giedion, Stephen Kern, Joshua Meyrowitz, Malcolm Willey and Stuart Rice, and others. Fischer points out that people used the telephone to further their own needs and desires (did not the telephone also create desires?). To put the telephone’s influence in context, the author makes comparison with the automobile.
“Chapter 2 presents a brief, nontechnical history of the telephone in North America. Chapter 3 explores the various ways that the telephone industry, especially AT&T, marketed its service to households, exploring the manner in which the industry understood or misunderstood subscribers’ use of the telephone. Chapter 4 tracks the diffusion of the telephone across the United States, assessing the factors that encouraged or retarded its spread. It also contrasts the telephone’s diffusion in rural as opposed to urban areas and in the working as opposed to the middle class. Chapter 5 further examines diffusion but at the level of the local community and the household. It recounts the response to the telephone in Antoch, Palo Alto, and San Rafael and then uses census data to determine which households in those towns adopted the telephone in which years. In most of these studies we use the automobile as a comparative benchmark.
“Chapter 6 employs a variety of evidence, from etiquette manuals to counts of advertisements, to chart how the telephone became an accepted part of everyday life. Chapter 7 looks at social change in our three towns, focusing on localism: Did residents become less involved in and less attached to their towns as the half-century passed? Chapter 8 looks more closely at individuals, asking how they reacted to the telephone and how they used it in their personal lives. In that context the chapter also analyzes the differences between men and women in regard to the telephone. Chapter 9 outlines telephone history from 1940 and summaries the findings and implications of this study.” technology entertainment nationalism corporations corporations entertainment, home women, and new media women modernism modernity modernism home entertainment gender home, and new media home values home, and information technology networks information technology telephones transportation transportation, and automobiles automobiles AT & T technology and society values, and technology information technology, and home networks, and telephones nationalism and communication telephones, and localism values, and telephones telephones, and automobiles Meyrowitz, Joshua Kern, Stephen Giedion, Siegfried Borgmann, Albert Willey, Malcolm Rice, Stuart telephones, and etiquette modernity values, and technology values, and new media telephones, and values home, and telephones telephones, and home telephones, and gender gender, and telephones women, and telephones sexuality Fischer, Claude S. America Calling: A Social History of the Telephone to 1940 2100 Fischer, Claude S. Studying Technology and Social Life Manuel Castells, ed. High Technology, Space, and Society Beverly Hills, CA Sage Publications
1985
284-300 Fischer attempted to “describe ... the sorry state of the sociology of technology -- examine its decline, theoretical confusion, and empirical vacuum -- and argue for new efforts to understand how technology influences social life.” Drawing on his research on the social impact of telephones and automobiles, he is concerned with how such technologies affect “daily personal and social life rather than with large economic and institutional domains and with changes across one or two generations rather than across epochs of history.” technology nationalism labor home, and new media home office office, and new media office, and information technology home, and information technology information technology general studies nationalism and communication telephones transportation automobiles technology, and sociology of information technology, and home information technology, and office technology and society home office sociology, and technology office, and new media sociology Fischer, Claude S. Studying Technology and Social Life 5340 Fischer, Claude S. ‘Touch Someone’: The Telephone Industry Discovers Sociability Stephen H. Cutliffe and Terry S. Reynolds, eds. Technology & American History: A Historical Anthology from Technology & Culture Chicago University of Chicago Press
1997
271-300 technology entertainment entertainment, home labor home entertainment home, and new media home values office, and information technology home, and information technology networks information technology telephones technology and society values, and telephones networks, and telephones information technology, and home information technology, and office anthology office Fischer, Claude S. ‘Touch Someone’: The Telephone Industry Discovers Sociability 27160 Fischetti, Mark The Future of Digital Entertainment Scientific American
Nov., 2000
283 5 47-49 Digital communication meant that in the not-too-distant future, as the entertainment and information worlds moved from analog to digital means of communication, the movies would continue to converge with other media – television, video games, music, radio, books, newspapers, magazines, telephones, and the World Wide Web – and could be accessed from any place, at any time, on TV sets, personal computers, automobile dashboards, with eye glasses and wristwatches – even, some predicted, with retinal implants. It seemed certain that these media would become more sophisticated in their ability to mimic real life experiences. entertainment computers entertainment, home photography television, and digital projection motion pictures home entertainment Hollywood digital media digital cinema digital movies digital cinema computers 35mm home, and new media home motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies photography and visual communication photography, and digital movies digital technology digial movies, how they work 35mm film 35mm film, and digital movies digital movies, and 35mm film projectors, digital projectors, digital movie computers and the Internet computers, and digital movies digital movies, and computers virtual reality virtual reality, and digital movies digital movies, and virtual reality Hollywood, and digital movies digital movies, and Hollywood media convergence Hollywood, and media convergence media convergence, and digitial movies television television, and digital entertainment television, and media convergence media convergence convergence, media digitization Fischetti, Mark The Future of Digital Entertainment 6790 Fisher, David E. And Marshall Jon Fisher Tube: The Invention of Television Washington, D.C.; and San Diego Counterpoint; and Harcourt and Brace
1996
This book is part of the Sloan Technology Series, and is written for a broad public. The development of modern television was perhaps not as dramatic as the creation of the first airplane flight or the invention of the atomic bomb. TV resulted from the work of many people over many years. By the mid-1930s, a "different magic box [from FM radio] had appeared, one that offered more -- much more -- than static-free radio. At first, it was called visual listening, or audiovision, or telectroscopy, telephonoscope, or hear-seeing. It was also called raduo and electric vision and radiovision. Finally, it acquired a name that looked like it might stick. They called it television." This work begins with nineteenth-century attempts at "seeing at a distance," and its final chapter deals with "The Digital Future: Smart Television." corporations corporations corporations corporations corporations corporations corporations corporations corporations Federal Communications Commission (FCC) advertising, and public relations censorship and ratings propaganda public relations materials regulation digitization law non-USA regulation patents Great Britain Germany television advertising Alexanderson, Ernst F. W. Armstrong, Edwin AT & T Baird, John Logie BBC Great Britain Great Britain, and television Bell Laboratories broadcasting, television cathode rays color, and television television, and color RCA CBS NBC American Broadcasting Company digital media television, and digital television, commercial television, electronic Fransworth, Philo T. FCC regulation, and television General Electric Company Iconoscope Jenkins, Charles Francis Kinescope television, mechanical television, and motion pictures Nipkow disk television, and outdoors patents, and television radio Titanic Sarnoff, David selenium vacuum tubes Westinghouse Corporation Zworykin, Vladimir color broadcasting materials ABC Fisher, David E. And Marshall Jon Fisher Tube: The Invention of Television 8940 Fishman, Robert Urban Utopias of the Twentieth Century New York Basic Books
1977
future and science fiction future utopianism urban studies Fishman, Robert Urban Utopias of the Twentieth Century 9720 Fiske, John Television Culture London Routledge
c1987, 1988
See also: violence See also: sexuality Fiske argues that television works to support society's dominant ideology. “In this book," he writes, "I work with a definition of television as a bearer/provoker of meanings and pleasures, and of culture as the generation and circulation of this variety of meanings and pleasures within society.”
Television tends to separate the family from the rest of the world. “‘The world’ becomes something that is potentially disruptive to the family, so the news constructs essentially negative and threatening versions of ‘out there,’ sitcoms enact the weekly contest between the forces that attempt to disrupt the family and the ‘nature’ that holds the family together." Fiske notes that some researchers (e.g., Ells) argue that "television’s effect is to ‘isolate’ the family viewer from the world, to center him/her in the home, and to construct a subjectivity that is entirely familial.”
Television can become a companion for women and the elderly. Some might listen to the TV rather than watch it because as research has shown, Fiske says, "many women alone in the house during the day had the television on because the sound of its voices made them feel less lonely...." For the elderly, the is an important form of companionship. "This is another way in which television differs from film, which has to cater for only a single mode of watching and does not have to complete for the viewer’s attention," Fiske says. entertainment entertainment, home women, and new media television, and home television, and values media effects journalism home entertainment news and journalism home, and new media home women values television values, and television television, and family television, and ideology women, and television television, and women television, and culture critics, and television (notes) critics home, and television values, and television news, and television television v. motion pictures media effects, and television news Fiske, John Television Culture 1100 Fitch, Walter M. The Motion Picture Story Considered as a New Literary Form Moving Picture World
Feb.19, 1910
7 6 248 This article argues that moving pictures are a new art form for literature, the first since the appearance of the novel. “This moving picture story is a new literary form. It is not drama, it is not novel, it is not poem. It contains the elements of all previous forms, but it is itself a new creation, the only new form which literature has evolved since the publication of the first novel in 1741. It is so modern that we cannot see it in perspective; we can as yet realize only in the smallest way its possibilities. We may see a little: we may imagine more; but we should ever bear in mind the vast difference between crude beginnings and full achievement; between ‘Pamela’ and ‘Les Miserables’; between the ‘Beggar’s Opera’ and ‘Parsifal.’ The motion picture story is to-day a lusty infant. When it gets its growth it will shed its swaddling clothes and all men will see and recognize its virile power.”
The article also notes that brewers have lost money to the movies and hence are the source of much hostiled press toward cinema. “A very large percentage of the income of these nickel theaters is taken directly from the profits of the brewers. This fact probably accounts largely for the hostility of the daily press to the motion picture; the liquor interests largely sway the press through their advertisements.”
The article indicates that improvements in lighting, especially the Cooper Hewitt mercury vapor lamp, made it possible for film makers to created more elaborate story thus changing the nature of acting. Cooper Hewitt lighting made possible the filming of more complex stories about the time of transition and the emergence of the “star.” “The art of printing made possible the novel. The invention of Edison made possible the newest literary form, though the inventor had no suspicions of this literary fact at the time. The first motion pictures were all scenic: later simple pantomimic actions were planned and photographed. Then came the invention of the mercury vapor electric light (the Cooper Hewitt light), peculiarly adapted to photography. This made possible the use of special studios and scenic settings. Producers began to plan and to stage regular pantomime plays; now the larger producing companies all have these studios; some have private parks many acres in extent, and all send companies into the great natural studio of out-of-doors, there to enact their mimic dramas in the environment of natural scenery.” theater stage fame fame celebrity celebrity culture censorship words vs. images metaphors actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and printing press motion pictures, as new literary form theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form motion pictures, and novels censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and brewers motion pictures, and censorship (brewers) electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting acting, and lighting lighting, and acting motion pictures, and stars motion pictures, and celebrity motion pictures, and fame fame, and motion pictures celebrity, and motion pictures celebrity culture actors, and status of Fitch, Walter M. The Motion Picture Story Considered as a New Literary Form 17960 Flam, Jack D. trans. Matisse on Art London Phaidon Press, Ltd.
1973
This work has a couple of entries from Henri Matisse commenting on the use of color. censorship photography painting law censorship and ratings censorship non-USA motion pictures and popular culture motion pictures color motion pictures, and color censorship, and color color, and censorship Matisse, Henri, and color photography and visual communication photography, and color painting, and color color, and painting Flam, Jack D. trans. Matisse on Art 30280 [Fleischer, Richard Fred Harpman] Multiple-image Technique for 'The Boston Strangler' American Cinematographer
Feb., 1969
50 2 202-05, 228 In this article, director Richard Fleischer, and Visuals Designer Fred Harpman, discuss the making of "The Boston Strangler" (1968), which starred Tony Curtis and Henry Fonda. The movies was about Albert DeSalvo who admitted to murdering 13 women between 1962 and 1964. 20th Century-Fox produced the film in Panavision and subdued color, and "an intricate technique in which multiple images appear simultaneously in varying configurations upon the wide-screen frame." (202) "The Boston Strangler" was the first feature film to use this technique in an extensive fashion. About 35 percent of the movie uses the multiple-image technique. motion pictures violence motion pictures, and violence violence, and motion pictures color motion pictures, and color motion pictures, and subdued color motion pictures, and multiple-image technique movie, Boston Strangler Boston Strangler cinematography special effects special effects, and multiple-image technique Fred Harpman] Multiple-image Technique for 'The Boston Strangler' 29990 Fleming, Rex Suitcase Studio American Cinematographer
Oct., 1965
46 10 642-44 This article discusses the portable equipment used by an independent film maker who works with 16mm film. motion pictures location shooting motion pictures, and location shooting location shooting, and problems cameras cameras, and lens lighting 16mm film cameras, 16mm cameras cameras, portable independent movie making motion pictures, independent motion pictures, 16mm 16mm Fleming, Rex Suitcase Studio 38860 Fletcher, Beaumont The Stage and the Church Godey's Magazine
Sept. 1895
131 783 280-84 Beaumont Fletcher begins by saying that "Nobody will deny that the Stage can be grossly immoral." (280) But the stage can be a positive force but if it is to fulfill its educational potential, it must "endure comparison with that activity which is entirely devote [sic] to the furtherance of morals, the Church." (280) The stage is primarily to amuse and provide entertainment and whatever moral instruction it has to offer must be provided in that context. Fletcher writes that "the Stage should pose as a teacher primarily; its first object is to entertain. Like fiction, and other branches of art, its didacticism must be artfully concealed, effective only subtly." (282)
The author talks about the status of actors and says that "the potency of tradition, centuries old, is against the actor." "Over-zealous" critics have preached that the "play-house is 'the vestibule of hell,' a pitfall for young men's feet." (283)
The actor's life off-stage may often be immoral even if his stage performance may be deemed moral. But "a virtuous actor cannot redeem the insidious immorality of a drama, any more than the uprightness of a theologian can ensure the accuracy of his dogmas. The word and the speaker are not the same." (280) Why do actors have a low status? "Now the somewhat general laxness of actors lies almost altogether in a disregard of one section of the Decalogue. They are conspicuously absent from the jails and penitentiaries, and they possess the virtue of charity to a remarkable degree. The reasons for their personal intemperance are numerous and quickly found. They are, of necessity, a roving class, with almost no opportunity for the solid blessings of home-life. They have a comparatively large income for what is usually a small number of working hours. And their excessive and monotonous leisure must be spent in dissipation or in the horrible barrenness of a hotel room. The very piety of the monks ran into riotous mischief when their only surroundings were dingy, narrow cells." (280)
The centuries of prejudice against actors have had an effect on the contemporary actor. "Ages of abuse heaped on the heads of players have had their undeniable effect of the actor of to-day. The recently knighted Sir Henry Irving is still, in the eyes of unrepealed statutes, a rogue and a vagabond. The revered Shakespeare was a common vagrant....Then, too, the unwarrantedly large space theatrical people are given in the newspapers which print most of their vices and few of their good deeds, magnifies their frailty unfairly." (280)
"Culture," Fletcher said, was "a prime bulwark of morality. But actors, as a rule, come upon the stage with unfinished educations, and, achieving sudden celebrity in some role, are strongly tempted to wear the mark into a rut, and make to excursions into wider fields of their art. They are 280/281 not a studious class, though, learning is of immense advantage in a genuinely successful stage career." (280-81)
The author notes that the moral influence of drama on audiences has been "discussed by numberless writers from Aristotle to Schlegel to Schiller." (281) He argues that "a radical change is demanded in the attitude of the Church toward the Playhouse." (283) Ministers condemnations of the theater do not keep people from attending plays. The average ministers knows little of the plays he attacks "beyond bald newspaper accounts of their plots and garbled, sensational reports of the personal failings of certain actors." (283) Few ministers are bold enough to defend the theater and stage from their pulpits. (284)
The author opposes prior censorship. "Art-censorship has never succeeded in justifying its existence," he says. "It installs bigotry, bias, and partisanship into despotry. It brings into play all underhanded machinations, wire-pulling, evasion, bribery. It narrows art to the channel of the faction in power. It throttles inspiration, reform, novelty, experiment. It endeavors to school and jail the high-spirited democracy of artists, and it must yield sooner or later to growing revolution, only to be supplanted by an equally stiff-necked tyrant of another party. After all, a free press and an unfettered art, with punishment for evil works rather than vain attempt at their prevention, bring in their train fewer ills than any other policy." (284)
This article ends by observing that modern society seems to have a growing hunger for attending plays. "The passion for play-writing and the hunger for play-going are grown into the very marrow of the bones of civilized man. The stage is a primeval, unceasing activity that cannot be howled down or boycotted. It needs, then the restraining, guiding inspiration of a lofty sentiment in its audiences. The Better Stage has a right to the approval and aid of all that profess a concern in the morals and the culture of mankind." (284) theaters stars (actors) theater journalism fame entertainment, and journalism entertainment celebrity anti-theatrical bias censorship critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality magazines theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality women women, and theater theater, and women critics critics, and actors critics, and theater critics, and professional acting motion pictures, and stars (origins) news and journalism actors, and journalism journalism, and actors actors, and newspapers newspapers, and actors magazines, and actors actors, and magazines theater, and religion religion, and theater audiences theater, and audiences audiences, and theater news and journalism entertainment, and journalism journalism, and entertainment newspapers, and actors actors, and newspapers journalism, and theater newspapers, and magnifying actors personality, and newspapers audiences, and theater theater, and audiences critics, and prior censorship censorship, and critics audiences, and desire for theater modernity, and play-going censorship modernity motion pictures religion Fletcher, Beaumont The Stage and the Church 42790 Flint, Kate Moral Judgment and the Language of English Art Criticism, 1870-1910 Oxford Art Journal
1983
6 2 (Criticism) 59-66 Flint writes that there are three major categories when considering the use of a moral vocabulary in art criticism between 1870 and 1910. The first, "prevalent since the Renaissance, that art must deliberately serve a didactic end as well as pleasing the eye, persisted, above all through the writings of Ruskin and his followers...." (59) A second category is one "in which morality and art criticism can be considered ... in many ways the obverse of the first. It rests on the belief that art has the power to influence for the bad as well as for the good, both through its content, and, though to a lesser extent, through the style in which it is executed." (59) These two categories, Flint says, are "broadly speaking prescriptive. But the third type of criticism, on which I wish to concentrate for the remainder of this article, is descriptive in its essence: it is that criticism which uses states of being and aspects of conduct as convenient value-bearing metaphors. Whereas the two types of overtly moralising criticism already mentioned centre around the responsibility of the artist, in this cas the finished work itself is constructed as the subject. It is conceived of as a body, possessor of mental and physical attributes and defects. This normative approach habitually employs pairs of opposites used elsewhere to define the human Victorian subject, and plays on associations of approval and disapprobation: health/disease; mental equilibrium/insanity; decorum/unruliness or vulgarity. Short nineteenth-century lists if desirable artistic qualities read like a paraphrase of Victorian moral values: 'strong individuality, earnestness of feeling, and healthiness of conception...." (60)
Among the critics who associated some types of art with revolution and anarchy were Max Nordau, E. Wake Cook, and Robert Ross. Kate Flint argues that “Wake Cook was the most fervent and probably the most consistently extreme of those who equated the danger of change in art with political revolution. The very title of his work, Anarchism in Art and Chaos in Criticism draws this analogy, which he elaborates in a vituperative attack against ‘decadence’, against the ‘anti-patriotism’ which an interest in French art reveals. In a neat bit of bellicose word play, he condemns those artists who, in the late nineteenth century, tried to upset British painting as ‘A few daring anarchists [who] crept in and tried to spike the canons of Art and to dynamite established reputation.’ One of his favourite targets is Whistler with his International Society of Sculptors, Painters and Gravers…. (61)
“Cook was not just an isolated eccentric among early twentieth-century critics. Robert Ross, reviewing the first Post-Impressionist exhibition, noted the significance in the choice of opening day the Fifth of November, appropriate for ‘revealing the existence of a widespread plot to destroy the whole fabric of European painting’…” (61)
With regard to the use of color, Flint says: "The condemnation of excess, and the favouring of moderation, so often brought in when criticism undesirable continental characteristics, was employed with particular force when discussing the application of colour. Bright meant vulgar...." (62) color critics critics, and color color, and critics color, and decadence color, and chromophobia Cook, E. Wake, and color values censorship and ratings censorship, and art values, and art criticism values, and art color, and E. Wake Cook color, and Max Nordau color, and Robert Ross censorship Flint, Kate Moral Judgment and the Language of English Art Criticism, 1870-1910 41320 Flood, Ned Arden The Modern Poster The Chautauquan
Sept. 1899
29 6 561-70 Flood writes that "Occupying the windows of our shops, the walls of our streets and roads, and appealing everywhere to the eye, the poster has doubtless seemed commonplace and ordinary, for it has the advantage of position which compels observation whether we will or not. That it receives but passing notice, is commonly examined with reluctance if only for the moment, or fails to excite more than temporary curiosity is due in large measure to its seeming effrontery, oftentimes it vulgarity, not infrequently its lack of charm, and more generally its omnipresence, which bequeaths to it a commonplace character." (561) Flood goes on to say that the "poster of today has a history which much of achievement has dignified, and quite as well the prospect of a future which is likely to be as useful as it is certain to be chromatic." (561) Those posters that are "grossly immoral," the author claims, "are only a small part of the whole." (562) "The modern poster is not representative of art but of a phase of artistic development. In a social way it provokes some persons who lack self-restraint; is impatiently tolerated by the very few whose artistic sense is so highly endowed that they fail to appreciate anything beyond the canvas of a Raphael or Angelo; and by the many it is simply accepted for what it is worth." (562)
The author writes about Jules Cheret's posters in France. "His poster pictures have caused much of a transformation in Paris. The tall, sentinel-like kiosks of the main thoroughfares have become veritable monuments of color; the dead gray walls of the long boulevards and streets have been warmed into life, decorated wit the most startling, astounding figures, and set off by the most extraordinary combinations of color, mainly the creations of Cheret." (563) As these posters are damaged by weather, etc., they are rapidly replaced by others. "Cheret is the pioneer in posterdom, the genius in art, above all the colorist, a complete and absolute chromatic master." (563)
In the United States, "Literature has given to poster designers their greatest inspiration, and the large number of periodicals in this country has 567/568 notably influenced the development of art. By far the greatest number of artistic posters made with us are those announcing the publication of books, magazines, and newspapers." (567-68)
According to Flood, "the modern poster is a combination of ideas." (570) billboards art advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards Chéret Jules, and posters posters, and Jules Chéret color, and French posters color, and Jules Chéret color, and magazines color, and books color, and newspapers books, periodicals, newspapers advertising Chéret, Jules Flood, Ned Arden The Modern Poster 39270 Flower, B. O. Mask or Mirror: The Vital Difference between Artificiality and Veritism on the Stage The Arena
Aug. 1893
45 304-14 This article begins by saying that "The theatre of recent years has been a mask rather than a mirror; that is to say, it has been afflicted with the gangrene of artificiality." (304) The author also sees religion, literature and art heavily influenced by artificiality. Flower believes that theater is too conventional. "That which is artificial, or if true is still encased in the mummy clothes of traditionalism, will fail to tough the well-springs of life." (306) He argues that it is "well-nigh impossible to present a dramatic work which is strongly unconventional." (307) actors acting critics modernity modernity, and theater theater, and modernity critics metaphors, and theater metaphors, and gangrene metaphors, and mirror vs. mask metaphors theater Flower, B. O. Mask or Mirror: The Vital Difference between Artificiality and Veritism on the Stage 38080 Flower, B. O. Photography: Its True Function and Its Limitations The Arena
Feb. 1907
37 207 "The past seventy years have been marked by a steady, rapid, and at times an almost magical improvement in the art of photography," Flower begins. He links these improvements to progress brought by modern science - - "the age of science the miracle-worker, who in nature's laboratory has so utilized sunshine, electricity, steam and other subtle natural agencies and forces as to transform the world, changing the face of civilization, almost annihilating time and space, while greatly broadening the mental horizon of the race and marvelously enriching the life of man." (128) After listing the values of "legitimate" photography, he continues by saying that "while these noble triumphs have been legitimately achieved and the young art has in a way become a companion to the splendid art of the painter, a servant of science and a handmaid of industry, there are those in our modern feverish and somewhat superficial age who would force photography out of its legitimate sphere, throwing to the wind the well-defined rules of the art.... This temper o the charlatan, this striving to wrest photography from its legitimate function and produce occasionally some wonderful examples of freak photography, [my emphasis] that may or may not be strong in points of real value and which are the result of chance rather than of the conscientious and faithful following of the great basic laws of the photographers." (128) The author (here quoting from a prominent sculptor) disapproves of work whose only purpose was to "make the superficial start and exclaim, 'Ah! how strange, how striking, unique and original!'" (130) He quotes Hugo Munsterberg on the difference between the photographer and the artist: "'A good photographer ... is certainly a more useful being than a bad artist, but no photographer understands the meaning of art who thinks that he and Sargent are in principle doing the same thing.'" (131) Flower then turns to Bernard Shaw for further commentary on this issue. (131) Flower maintains that the "artist of the camera ... is a literalist. He is nothing if not true to the external delineations." (133) Later he quotes the well-know Boston photographic artist, J. E. Purdy, who said that "'the aim of photography is to bring out or develop the truth, character and feature of the subject in its highest, loftiest sense.'" (137) Flower thought it unlikely that the photographer would supplant the artist whose portraits remain more compelling and better able to capture the essential of their subjects than a photograph. Münsterberg, Hugo Munsterberg, Hugo ethics art photography and visual communication photography photography, and new art form photography, and psychology Münsterberg, Hugo photography, and Hugo Münsterberg Munsterberg, Hugo, and photography photography, and art art, and photography Shaw, George Bernard Shaw, George Bernard, and photography photography, and George Bernard Shaw values ethics photography, and values photography, and ethics ethics, and photography values, and photography photography, as magic modernity photography, and modernity modernity, and photography new way of seeing new way of seeing, and photography photography, and time and space critics critics, and modernity critics, and photography Munsterberg, Hugo Flower, B. O. Photography: Its True Function and Its Limitations 41660 Flower, B. O. The Rise of Photography and Its Service to Mankind The Arena
Jan. 1902
27 1 28-38 The article begins by saying that the "nineteenth century may be termed the golden age of scientific discovery and the summer-time of inventive genius, in comparison with which all other centuries dwarf into insignificance." (28) This article discusses the history of photography and talks about two innovations -- color photography and x-rays. It quotes Gabriel Lippmann on his color photography process saying in a lecture before the Royal Society in April, 1896, that "The effects are said to be most beautiful, the only falt being that the colors are more brilliant than in Nature, just as they are when viewed in the camera itself." (Lippmann quoted, 32)
Flower says that before photography "only the very rich could afford portraits of the cherished members of the home circle, 33/34 for even indifferent work was far out of the reach of most persons, and few artists possessed at once the genius and the training necessary to catch and represent the lifelike features and expressions that we find in the work of the camera. Photography has changed all this, so that to-day in the homes of rich and poor alike, which jewel the civilized world, are found the lifelike shadows, or images of those who hold a sacred place in the affections or images of the home makers." (33-34) The author goes on to say that "Before the magic of this picture the past rises as a dream, in which the boy, with joyous laughing face, gives place to the thoughtful youth, standing on the threshold of manhood, with brow mantled with the same look of confidence, mingled with serious concern, which the camera has so marvelously reproduced." (34) Flower notes that photography has given the reading public a visible image of historical figures over the past three-quarters of a century where before, one might have to settle for looking a a sculpture or painting. (35)
This article compares achievements of photography's inventors to the work of Johann Gutenberg: "Like Gutenberg, Daguerre and the other fathers of photography have greatly enriched life and increased the enlightenment of the world." (37) The author concludes by saying that today (1902), "it would be difficult to overestimate the blessings it [photography] has rendered to civilized man." (38) magic fame ethics photography and visual communication photography photography, and new art form values ethics photography, and values photography, and ethics ethics, and photography values, and photography photography, as magic modernity photography, and modernity modernity, and photography new way of seeing new way of seeing, and photography photography, and time and space critics critics, and modernity critics, and photography photography, and fame fame, and photography inventions inventors, and photography photography, and history of color color, and photography photography, and color x-rays Daguerre, Louis photography, and Louis Daguerre Roentgen, Wilhelm x-rays, and Wilhelm Roentgen Lippmann, Gabriel, and color photography color, and Gabriel Lippmann photography, and magic, and photography photography, and history history, and photography history and new media metaphors metaphors, and photography as dream photography, as dream printing press, and photography photography, similar to printing press history print Flower, B. O. The Rise of Photography and Its Service to Mankind 2670 Foerstel, Herbert N. Banned in the Media: A Reference Guide to Censorship in the Press, Motion Pictures, Broadcasting, and the Internet Westport, CT Greenwood Press
1998
This work surveys censorship in newspapers, magazines, motion pictures, radio, television, and the Internet. computers values motion pictures law censorship and ratings censorship values values, and censorship motion pictures and popular culture books, periodicals, newspapers radio television computers and the Internet censorship, and motion pictures censorship, and newspapers censorship, and magazines censorship, and television censorship, and radio censorship, and Internet Foerstel, Herbert N. Banned in the Media: A Reference Guide to Censorship in the Press, Motion Pictures, Broadcasting, and the Internet 32350 Fondiller, Harvey V. Movie Camera Factories of Europe Popular Photography
Nov., 1970
67 5 124-26 This article notes that prior to World War II, most amateur movie cameras that would bought in the United States were American products. In 1969, Europe led "in the production of quality super 8 cameras. West Germany, France, and Switzerland led in imports to the U. S. Also, even more inexpensive camera (under $50) came from Japan. Bauer cameras, Agfa-Gevaert (made near Munich), and the Beaulieu movie camera (from south of Paris) were among the best know brands. motion pictures cameras motion pictures, and internationalization motion pictures, and new technology Europe Germany France Japan Switzerland 8mm cameras, 8mm movie cameras, portable Japan, and 8mm movie cameras Germany, and 8mm movie cameras France, and 8mm movie cameras Switzerland, and 8mm movie cameras Japan, and cameras cameras, and Switzerland cameras, and Japan cameras, and France cameras, and Germany non-USA Fondiller, Harvey V. Movie Camera Factories of Europe 740 Fones-Wolf, Elizabeth Promoting a Labor Perspective in American Mass Media: Unions and Radio in the CIO Era, 1935-1956 Media, Culture & Society
May 2000
22 3 285-307 See also: office Fones-Wolf traces the use of radio by organized labor, especially the CIO unions, from the mid 1930s to the mid 1950s. Fones-Wolf notes that in the years immediately following World War II, unions were regularly heard on commercial stations and also operated a number of FM radio stations. “By the early 1950s, labor’s voice was more widely heard on the airwaves than ever before. Organized labor offered at least a modest check on corporate America’s command of the mass media.” The National Association of Broadcasters adopted a code in 1939 that prohibited stations from selling time for controversial issues, which by definition included programming produced by labor unions. Organized labor fought the code until it was eliminated under FCC pressure. Fones-Wolf briefly describes how the CIO Political Action Committee used radio in 1944 for its campaigns for Roosevelt and supportive congressional candidates. CIO PAC also published a handbook on how to gain access and use radio, and it produced a series of pro-labor musical and dramatic radio programs to be sponsored by local unions. In November 1944, the four networks agreed to give the AFL and the CIO free time for weekly programs, including “The American Federationist of the Air,” a weekly newsmagazine, and “Cross Section CIO,” a radio forum with discussion by labor, farm, business and government leaders. Organized labor, Fones-Wolf noted, attempted to challenge business domination of discourse by trying to expose employer propaganda, by aggressively contesting the portrayal of labor in the mass media, and by using radio to compete directly with business for “worker loyalty and public sympathy.” In 1949, the UAW and ILGWU established FM radio stations in Detroit, Cleveland, Chattanooga, Los Angeles, and New York City. These stations all closed by 1952, in part because FM sets were not being developed for consumer sales, FM was not being promoted, and television was emerging. Still, labor continued to be present on commercial AM stations. Fones-Wolf argues that the experience from 1935 to 1956 “suggests that it is possible to challenge the capitalist broadcasting system and to use the media to help achieve organized labor’s goals.”
--Phil Glende corporations corporations Glende, Phil labor radio radio, and labor labor, and radio radio, FM labor, and FM radio radio, and CIO NBC Fones-Wolf, Elizabeth Promoting a Labor Perspective in American Mass Media: Unions and Radio in the CIO Era, 1935-1956 980 Fones-Wolf, Ken and Elizabeth Fones-Wolf A Mighty Voice for Labor: The Struggle to Create a National Daily Labor Newspaper, 1952-1958 Labor Studies Journal
Fall 1995
20 3 42-64 See also: office Ken and Elizabeth Fones-Wolf recount the short life of daily newspaper launched by the International Typographical Union in the mid-1950s. By publishing daily, instead of weekly, biweekly, or monthly, like the rest of the labor press, Labor’s Daily was supposed to “more effectively communicate with union members and the public.” The authors briefly trace the history of the labor press, labor’s complaints about the mainstream media, and the cultural and political context of post-war America. They detail the beginnings of Labor’s Daily from a daily ITU strike paper in Charleston, West Virginia, to a national publication distributed during strikes throughout the nation. “The ITU published a national edition of the paper in West Virginia and shipped mats of its pages to strike-bound cities where printers added additional pages of local news, picture and features, thus supplying communities with local news from a union source.” In 1955, the ITU moved publication to a more central location Bettendorf, Iowa. The authors also provide a brief description of content. They noted that the paper carried cartoons, a crossword puzzle, sports, and other non-labor features to compete with the mainstream press for readers. The paper never was self-sustaining, and by late 1956, the ITU’s commitment was waning, and the union insisted that the whole labor movement had to bear financial responsibility. The paper did not win support. It was opposed by the staff of the AFL-CIO, the authors noted, because of its poor circulation and its independent politics. The paper was discontinued in March 1958.
--Phil Glende journalism reform news and journalism Glende, Phil labor newspapers, and labor labor, and newspapers reform, and newspapers newspapers, and reform newspapers, and International Typographical Union labor, and Labor's Daily newspapers news Fones-Wolf, Ken and Elizabeth Fones-Wolf A Mighty Voice for Labor: The Struggle to Create a National Daily Labor Newspaper, 1952-1958 25100 Ford, Jesse Hill Abolish Film Ratings; Trust the Moviegoers USA Today
May 2, 1990
A 10A As the motion pictures industry's rating system came under attack from movie makers in 1990 -- many calling for a new rating category for non-pornographic "adult" films -- novelist and screen writer Jesse Hill Ford called for abandoning the ratings altogether. The studios easily outwitted the rating board, he concluded. By charging censorship they gained much free publicity for films that few people would ever see, or want to see. It was time to depend on responsible media, churches, and word-of-mouth to inform parents, Ford said. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Heffner, Richard Ford, Jesse Hill Abolish Film Ratings; Trust the Moviegoers 17980 Ford, Luke A History of X: 100 Years of Sex in Film New York Prometheus Books
1999
This book provides a history of sex in motion pictures. The work is interesting on the increasing use of sex in mass media during the latter half of the twentieth century. Erotic depictions of the body became far more common after World War II. Advertising had exploited nudity throughout the century and continued to do so. Nude, or semi-nude, photographs multiplied. In this area, the Europeans took the lead. During the 1960s, Scandinavian publishers used new technology that produced high quality photolithographic color prints at lower prices to produce the first widely obtainable color photographs of male and female genitalia. Over the next twenty years European publishers turned out billions of copies of magazines featuring sexually explicit pornography. classification censorship self-regulation motion pictures, and sexuality sexuality CARA photography censorship and ratings rating system (U.S.) rating system (U. S.) sexuality pornography sexuality news and journalism books, periodicals, newspapers magazines lithography law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship motion pictures and popular culture motion pictures motion pictures, and sex motion pictures, and pornography pornography, and motion pictures rating system (U. S.), and X-rating motion pictures, and X-rated films photography and visual communication color color, and pornography books, periodicals, newspapers magazines, and nudity nudity magazines, and color nudity magazines, and pornography photography, and nudity nudity, and photography color, and nudity nudity, and color censorship, and color photography, and pornography pornography, and photography photolithography lithography, photo color, and photolithography Ford, Luke A History of X: 100 Years of Sex in Film 3180 Forester, Tom [Bibliography: Information Technology Revolution] Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
56-59, 104-05, 162-66, 216-17, 258-59, 295-97, 334-35, 372-73, 417-18, 466-67, 528-29, 569-70, 617-19, 663-64 Forester's work not only assembles papers and articles on the information technology revolution, but it also has a "Guide to Further Reading" at the end of each section. These guides pull together some of the best literature (as of 1985) on the topic of this anthology. computers video cassette recorders (VCRs) magnetic recording women, and new media values labor communication revolution home, and new media materials materials magnetic tape community democracy non-USA women videotex VCRs values telecommunications radio radio, and bibliography computers and the Internet computers, personal computers office, and information technology information technology bibliographies information technology revolution, and bibliography artificial intelligence and biotechnology artificial intelligence, bibliography telecommunications, and bibliography cable, bibliography videotex, bibliography radio, cellular, bibliography information technology, and home, bibliography information technology, and education, bibliography information technology, and industry, bibliography information technology, and office, bibliography information technology, and finance, bibliography information technology, and health, bibliography automation, bibliography women, and automation (bibliography) information technology, and labor, bibliography democracy and media, bibliography global communication, and bibliography communication revolution, and history of (bibliography) values, and information technology (bibliography) VCRs, and bibliography personal computers, and bibliography automation bibliographies, and information technology bibliographies, and artificial intelligence cable communication revolution democracy and media global communication information technology, and office personal computers computers, personal values, and information technology office home Forester, Tom [Bibliography: Information Technology Revolution] 2730 Forester, Tom [Bibliography: Materials Revolution] Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
375-86 This work contains a useful bibliography on materials science, superconductors, new materials such as ceramics, optical fibers, plastics, cements, superglues, alloys, and semiconductors. It also has works on computers and telecommunications, aerospace, energy, transport and manufacturing, medicine, space processing of materials, and future applications of various materials. computers superconductivity nationalism supercomputers fiber optics communication revolution materials future and science fiction fiber optics communication revolution, and second industrial revolution non-USA space communication materials information technology bibliographies aeronautics and space communication nationalism and communication superconductors plastics optical fibers cement alloys semiconductors second industrial revolution communication revolution computers and the Internet telecommunications information technology, and medicine space communication, and materials processing future nanotechnology materials revolution general studies materials revolution, bibliography Japan Japan, and supercomputers supercomputers, bibliography future, and materials revolution satellites Forester, Tom [Bibliography: Materials Revolution] 2780 Forester, Tom [Bibliography: Microelectronics Revolution] Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publishers; and MIT Press
1980, 1981
62-64, 103-04, 159-61, 219, 288-89, 353-55, 414-15, 497-99, 575-76 See also: office This collection of previously published essays has bibliographies at the end of each section pulling together literature (as of 1980) on microelectronics, microprocessors, computers and their social impact, the influence of the microelectronics revolution on industry, employment, the office and industrial relations, town planning, politics, and artificial intelligence. computers microprocessing labor community democracy office, and information technology microprocessors microelectronics information technology computers and the Internet artificial intelligence and biotechnology microelectronics bibliographies microelectronics, and bibliography microprocessors, and bibliography computers and social impact, bibliography artificial intelligence, bibliography industry automation labor urban studies democracy and media computers office, and new media labor, and new media office Forester, Tom [Bibliography: Microelectronics Revolution] 2790 Forester, Tom The Microelectronics Industry: The Jelly Bean People of Silicon Valley Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publishers; and MIT Press
1980, 1981
65-71 The author visited Santa Clara valley, or Silicon Valley, in June, 1978, and wrote this account of life there. computers materials, and silicon microprocessing materials silicon communication revolution second industrial revolution communication revolution microelectronics computers and the Internet Silicon Valley artificial intelligence and biotechnology microelectronics revolution microprocessors capitalism Forester, Tom The Microelectronics Industry: The Jelly Bean People of Silicon Valley 510 Forester, Tom ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
This collection by Forester has essyas from contemporary publications and from more scholarly outlets. Forester writes that “in the past the human race has tended to adapt naturally occurring materials and minerals for its use. Now science and technology is giving humans the ability to design the materials they require.... The new materials technology could therefore represent an entirely new way of going about things, and as such it will present a major new challenge not only to managers, designers, and entrepreneurs but to governments worldwide.” Forester discusses ceramics and plastics (in 1979 the annual output of plastics in the U.S. exceeded steel for the first time), and semiconductors and cement. “Transistors, integrated circuits, and the chip itself only came about after material scientists learned how to process silicon from common sand.... What’s more, entirely new materials like gallium arsenide -- formed by combining gallium with arsenic ... are threatening to replace silicon as the main constituent of semiconductors.” technology computers superconductivity materials, and silicon nationalism transistors, and integrated circuits fiber optics communication revolution materials future and science fiction fiber optics non-USA materials general studies materials revolution communication revolution information age ceramics plastics concrete transistors integrated circuits silicon gallium arsenide technology and society superconductors future Japan optical fibers nanotechnology materials revolution, and space computers and the Internet Japan, and supercomputers nationalism and communication nationalism, and computers semiconductors Forester, Tom ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge 500 Forester, Tom ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
Forester has collected numerous articles in this work. Each has an abstract and a Guide for Further Reading. Interesting pieces include Forester’s Introduction; chapter 3 on “The Telecommunications Explosion” (which has essays by John S. Mayo, Duane L. Huff, Robert Kahn and Martin L. Ernst, and Martin Mayer), and the essays from Part Four: “Implications for Society.” technology computers surveillance nationalism magnetic recording law, and privacy law labor communication revolution materials materials magnetic tape communication revolution, and second industrial revolution censorship and ratings non-USA home, and new media home radio computers and the Internet computers, personal computers office, and information technology home, and information technology labor information technology general studies information age communication revolution second industrial revolution telecommunications technology and society computers computers, and software computers, and supercomputers supercomputers artificial intelligence Japan computers, chips artificial intelligence, social impact networks artificial intelligence, myth of myth videotex radio, cellular cable personal computers computers, personal information technology and home information technology and children and computers computers, and children automation finance health medicine labor privacy computers, and crime data protection encryption developing nations long waves long wave theory labor, and new media artificial intelligence and biotechnology computers and the Internet children long wave theory labor nationalism and communication Japan, and new media home, and new media materials office children, and media Forester, Tom ed. and intro. The Information Technology Revolution 520 Forester, Tom ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Cambridge, MA MIT Press (originally Oxford, Eng.: Basil Blackwell Publisher)
1980, 1981
See also: office This book is a collection of previously published articles and chapters. Chapter 1 (“The New Technology,” pp. 3-64) has articles by Gene Bylinsky (“Here Comes the Second Computer Revolution”); Phillip H. Abelson and Allen L. Hammond (“The Electronics Revolution”); Robert N. Noyce (“Microelectronics”); William G. Oldham (“The Fabrication of Microelectronic Circuits”). Chapter 9 (“The Information Society?”) has essays by Daniel Bell (“The Social Framework of the Information Society”); Joe Weizenbaum (“Once More, the Computer Revolution”); and Bell’s “A Reply to Weizenbaum.” Other chapter titles in this book include: Part I: “The Microelectronics Revolution”: chapter 2 (“The Microelectronics Industry”); chapter 3 (“Applications of the New Technology.” Part II: “Economic and Social Implications” includes chapter 4 (“The Impact in Industry”); chapter 5 (“The Revolution in the Office”); chapter 6 (“The Consequences for Employment”); chapter 7 (“Industrial Relations Implications”). In Part III (“The Microelectronic Age”), chapter 8 is on “The Social Impact of Computers.” R & D entertainment computers materials, and silicon microprocessing entertainment, home transistors, and integrated circuits silicon law, and privacy law labor research and development war communication revolution home entertainment materials computers and the Internet communication revolution, and second industrial revolution capitalism war government home, and new media home surveillance paper office, and information technology home, and information technology microprocessors microelectronics labor information technology Information Age general studies microelectronics electronic media communication revolution information age computers home labor, and new media second industrial revolution transistors integrated circuits Silicon Valley military communication artificial intelligence microprocessors microprocessors, and consumers microprocessors, and industry automation information technology and paper paperless revolution word processing information processing computers, chips microelectronics, and government government, and microelectronics labor and communication microelectronics, and labor urban studies artificial intelligence, social impact privacy surveillance artificial intelligence and biotechnology government home, and new media office, and new media labor capitalism, and new media materials office Forester, Tom ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society 13500 Forman, Henry James Our Movie Made Children New York Macmillan Company
1933
This book was journalist Henry James Forman's controversial popularization of the Payne Fund Studies. Forman oversimplied the Studies. What much of the public came to know about this social science research came from Forman's book. censorship and ratings children motion pictures and popular culture motion pictures motion pictures, and social science Payne Fund Studies children, and motion pictures motion pictures, and children media effects media effects, and motion pictures motion pictures, and critics children, and media Forman, Henry James Our Movie Made Children 26190 Forman, Peter Robert W. Saint John Creating Convergence Scientific American
Nov. 2000
283 5 50-56 Digital communication also meant that in the not-too-distant future, as the entertainment and information worlds moved from analog to digital means of communication, the movies would continue to converge with other media – television, video games, music, radio, books, newspapers, magazines, telephones, and the World Wide Web – and could be accessed from any place, at any time, on TV sets, personal computers, automobile dashboards, with eye glasses and wristwatches – even, some predicted, with retinal implants. It seemed certain that these media would become more sophisticated in their ability to mimic real life experiences. This issue of Scientific American has much on digital cinema. entertainment computers entertainment, home photography television, and digital projection motion pictures home entertainment Hollywood digital media digital cinema digital movies digital cinema digitization computers 35mm home, and new media home motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies photography and visual communication photography, and digital movies digital technology digial movies, how they work 35mm film 35mm film, and digital movies digital movies, and 35mm film projectors, digital projectors, digital movie computers and the Internet computers, and digital movies digital movies, and computers virtual reality virtual reality, and digital movies digital movies, and virtual reality Hollywood, and digital movies digital movies, and Hollywood media convergence Hollywood, and media convergence media convergence, and digitial movies television television, and digital entertainment television, and media convergence media convergence convergence, media Robert W. Saint John Creating Convergence 26830 Forshey, Gerald E. American Religious and Biblical Spectaculars Westport, CT Praeger
1992
This work is part of Praeger's Media and Society Series, J. Fred MacDonald, general editor. This work is useful for those interested in learning more about how religion is portrayed in motion pictures and on television. Forshey discusses, for example, Franco Zeffrelli's television presentation, Jesus of Nazareth. advertising, and public relations propaganda public relations values motion pictures values motion pictures and popular culture television motion pictures, and religion television, and religion advertising, and religion television, and General Motors Zeffirelli, Franco, and Jesus of Nazareth religion, and motion pictures religion, and television values advertising religion Forshey, Gerald E. American Religious and Biblical Spectaculars 3500 Foulkes, Fred K. and Jeffrey L. Hirsch Management and Labor: the Organization of Work Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
468-79 See also: office When this piece appeared in the Harvard Business Review (Jan. - Feb. 1984), both authors were at the Human Resources Policy Institute at Boston University. Their article is based on case studies of companies that have moved to use robots. "Managers who successfully introduce robots carefully select their sites, move slowly, retrain displaced workers, and educate and keep informed both line managers and the unions." computers robotics information technology computers and the Internet labor automation information technology, and industry robots artificial intelligence and biotechnology labor, and new media labor, and artificial intelligence labor, and automation Foulkes, Fred K. and Jeffrey L. Hirsch Management and Labor: the Organization of Work 28920 Fowles, Jib The Case For Television Violence Thousand Oaks, CA Sage Publications, Inc.
1999
Fowles criticizes mass communication research that has too easily concluded that violence shown on television and other mass media have harmful effects. He critiques the work of two leading proponents of the view that violence on television causes anti-social behavior – Leonard Eron and George Gerbner. Fowles is also critical of the position taken by such professional and scientific organizations as the American Medical Association, the American Academy of Pediatrics, and the American Psychological Association. Too often they have accepted conclusion without doing firsthand research. “Television violence deserves a much better reputation among people,” Fowles writes. It “survives because of viewers’ preferences – not because of what people say they want but because of what they actually view. People who truly want to understand the role of television violence need to critically examine the role of this content, in its many guises, in their own lives.... Perhaps, to give television violence its due, we need first to respect ourselves more fully, to have greater regard for the complex, semiviolent creatures that we are.” fear critics violence television media effects social science research social science research, and critics television, and violence violence, and television violence, and social science research Gerbner, George Eron, Leonard American Medical Association, and violence American Academy of Pediatrics, and violence American Psychological Association, and violence television, and critics v-chip catharsis theory children children, and TV violence violence, and children children, and violence fear, and media effects media effects, and fear race, and TV violence audiences audiences, and TV violence children, and media critics American Academy of Pediatrics American Medical Association American Psychological Association race self-regulation Fowles, Jib The Case For Television Violence 28880 Fowles, Jib Starstruck: Celebrity Performers and the American Public Washington, D. C. Smithsonian Institution Press
c1992
This book examines the growing fascination with entertainers. Fowles notes that this fascination grew rapidly between 1870 and 1920. The rise of cities populated with recent immigrants and also people who came from farms and villages helps to explain the appearance of a celebrity culture. Technology played an important role. The telegraph and railroad helped to build a national following for actors, actresses, and baseball players. "Then something cataclysmic happened," Fowles writes. The "pace of the technological distribution of star images turned furious with the advent of motion pictures. It was this technology, above all others, that ushered in the age of the star." celebrity photography photography and visual communication news newspapers news, and photography celebrity culture news, and celebrity culture values values, and journalism journalism, and celebrity journalism, and public relations public relations, and journalism photojournalism celebrity culture, and journalism public relations, and celebrity culture critics celebrity culture, and photography news and journalism motion pictures and popular culture motion pictures, and celebrity culture celebrity culture,and motion pictures transportation transportation, and celebrity culture railroads, and celebrity culture sports, and new media sports telegraph telegraph, and celebrity culture journalism motion pictures public relations railroads Fowles, Jib Starstruck: Celebrity Performers and the American Public 27500 Fox, David J. Blockbuster Video Rates NC-17 Films Unsuitable for All Los Angeles Times
Jan. 14, 1991
F (Calendar Section) 1 This article reports on Blockbuster's decision not to rent NC-17 videos. Later Blockbuster rented them on a case-by-case basis. Blockbuster then had about 1,600 outlets. entertainment Classification and Rating Administration classification video cassette recorders (VCRs) self-regulation sexuality sexuality motion pictures, and sexuality entertainment, home Classification and Rating Administration (CARA) Blockbuster Video magnetic recording sexuality video rentals video sex censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures media effects media violence lesbianism home entertainment videotape magnetic tape law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA home home, and new media home motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism motion pictures, and sex motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating system (U. S.), and controversies NC-17 NC-17, and exploitation VCRs Blockbuster Video, and NC-17 NC-17, and Blockbuster video stores NC-17, and video home entertainment revolution video, and home home, and video Fox, David J. Blockbuster Video Rates NC-17 Films Unsuitable for All 22130 Fox, David J. Jack Valenti Says Change Possible for Film Ratings Los Angeles Times
Aug. 10, 1990
F (Calendar) 1F This article deals with Jack Valenti's thinking about the need for changing the motion picture rating system. Valenti had consistently opposed revisions but now realized that compromise would be needed. The industry soon adopted the NC-17 rating category. The only previous revision to the ratings had been in 1984, the PG-13, in reaction to the release of Indiana Jones and the Temple of Doom. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation motion pictures, and sexuality sexuality Classification and Rating Administration (CARA) sexuality sex censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture rating system (U. S.), and controversies CARA, and rating controversies PG-13 NC-17 CARA, and NC-17 CARA, and PG-13 Valenti, Jack Valenti, Jack, and PG-13 Valenti, Jack, and NC-17 CARA, and sex CARA, and adult films motion pictures, and sex sex, and motion pictures sex, and NC-17 motion pictures, and adult films, CARA Fox, David J. Jack Valenti Says Change Possible for Film Ratings 28470 Fox, David J. Movie on Prostitution Still Gets an NC-17 Rating Los Angeles Times
Sept. 9, 1991
F 2F This article deals with the NC-17 rating given to Ken Russell's movie Whore (1991). Richard Heffner, head of the Classification and Rating Administration, discusses the reasons for the rating. prostitution classification self-regulation sexuality sexuality motion pictures, and sexuality CARA sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising motion pictures media effects media violence law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures, and sex motion pictures, and violence public relations public relations, and motion pictures public relations, and Whore (1991) motion pictures, and sex sex, and motion pictures lCARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 violence, and motion pictures violence motion pictures, and violence motion pictures, and prostitution prostitution, and motion pictures Heffner, Richard, and Whore Heffner, Richard advertising Fox, David J. Movie on Prostitution Still Gets an NC-17 Rating 25540 Fox, David J. R Vs. NC-17 -- What's the Difference?: Filmmakers, Exhibitors Are Bewildered by Inconsistent Ratings Los Angeles Times
Jan. 18, 1993
F (Calendar) 1F This article examines the confusion that some film makers and exhibitors had over why certain ratings were given to motion pictures. It discusses Madonna's NC-17 movie Body of Evidence (1993). Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality Classification and Rating Administration (CARA) sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations sexuality motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA motion pictures and popular culture motion pictures, and sex sex, and motion pictures nudity, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 nudity CARA, and nudity motion pictures, and nudity language motion pictures, and language language, and motion pictures Madonna Dafoe, Willem NC-17, and critics Deutsch, Stephen advertising Fox, David J. R Vs. NC-17 -- What's the Difference?: Filmmakers, Exhibitors Are Bewildered by Inconsistent Ratings 25250 Fox, David J. Rating System Faces Challenges on Two Fronts Los Angeles Times
July 21, 1990
F (Calendar) 1F The motion picture industry's rating system faced legal challenges and also attacks from movie makers who were unhappy with the system and wanted a new rating category to indicate non-pornographic adult films. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theater owners censorship and ratings rating system (U.S.) rating system (U. S.) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Valenti, Jack, and NC-17 Valenti, Jack, and legal challenges theater owners, and rating system (U. S.) theater owners, and NC-17 MPAA, and NC-17 Heffner, Richard Fox, David J. Rating System Faces Challenges on Two Fronts 25390 Fox, David J. Ratings to Give Parents More Data Los Angeles Times
July 29, 1992
F (Calendar) 1F With the adoption of the NC-17 in 1990 by the motion picture industry came progress on providing the public information about why ratings had been given, a step that Jack Valenti had resisted. Henceforth, R-rated movies would carry short explanations about why they had been restricted. Two years later (July, 1992), the industry began offering explanatory statements for the PG and PG-13. It was all part of a trend, said NATO’s president William F. Kartozian, “to make ourselves more user-friendly.” music Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation corporations sexuality sexuality motion pictures, and sexuality corporations corporations homosexuality Classification and Rating Administration (CARA) theaters MCA Universal Pictures theater owners censorship and ratings rating system (U.S.) rating system (U. S.) R-rating PG-13 motion pictures Music Corporation of America (MCA) law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture Wasserman, Lew CARA Heffner, Richard Valenti, Jack Valenti, Jack, and NC-17 NC-17 rating system (U. S.), and NC-17 movie, Henry and June motion pictures, and sex motion pictures, and sex lesbianism motion pictures, and lesbianism motion pictures, and homosexuality motion pictures, and homosexuality homosexuality CARA, and rating controversies rating system (U. S.), and controversies Wasserman, Lew, and NC-17 Universal Pictures, and NC-17 Miller, Henry Kaufman, Philip MCA, and NC-17 MCA, and Cineplex Odeon theater chain theater owners, and NC-17 NC-17, and theater owners Pollock, Tom, and Universal Universal Pictures, and Tom Pollock Pollock, Tom, and NC-17 Kaufman, Philip, and Henry and June Heffner, Richard, and NC-17 Heffner, Richard, and Henry and June Heffner, Richard, and rating system (U. S.) NC-17 NC-17, and origins rating system (U. S.) system, and explanations R-rating, and explantions Valenti, Jack, and rating explanations Heffner, Richard, and rating explanations PG-13, and rating explanations Kartozian, William CARA, and rating explanations Fox, David J. Ratings to Give Parents More Data 25310 Fox, David J. Valenti Agrees to Talk to Critics of Movie Ratings Los Angeles Times
July 26, 1990
F (Calendar) 7F This article is about Jack Valenti's decision to talk with movie makers who were critical of the motion picture industry's rating system. Before this time, Valenti had argued that no change was needed in the system. Now Valenti recognized the need to compromise and within a few weeks, the industry adopted a new rating category, NC-17. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theater owners censorship and ratings rating system (U.S.) rating system (U. S.) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Valenti, Jack, and NC-17 Valenti, Jack, and legal challenges theater owners, and rating system (U. S.) theater owners, and NC-17 MPAA, and NC-17 Coppola, Francis Ford Lee, Spike Reiner, Rob Pollack, Sydney Wang, Wayne Lipsky, Mark MPAA, and independent producers CARA, and independent producers NC-17 NC-17, and origins Heffner, Richard Fox, David J. Valenti Agrees to Talk to Critics of Movie Ratings 9730 Fox, Stephen The Mirror Makers: A History of American Advertising and Its Creators New York William Morrow
1984
See also: violence See also: sexuality Fox traces the evolution of modern American advertising from its roots in the 1870s to the 1970s. The major historical argument is given away in the title; Fox argues that advertising primarily reflects American values rather than creating them. To make this assertion Fox must show that a cultural trend (such as the 1960s counterculture) was underway prior to a change in advertising philosophy (such as the creative revolution of the 1960s). Fox’s evidence for the latter part of the argument is the most well-documented. He relies heavily on advertising trade journals (primarily Advertising Age). Using them, Fox details the cyclical nature of advertising styles which are primarily of two types: the hard sell ad and the more subtle, image creating ad. These styles come and go largely because, after awhile, the American public stops paying attention to one or the other.
--Mark Tremayne photography advertising, and public relations propaganda public relations communication revolution media effects communication revolution values advertising television values, and advertising Tremayne, Mark graphics revolution books, periodicals, newspapers photography and visual communication advertising, and values media effects, and advertising Fox, Stephen The Mirror Makers: A History of American Advertising and Its Creators 37040 Foxcroft, Frank The American Sunday Newspaper Living Age
Nov. 2, 1907
255 3304 259-64 This article provides a good account of Sunday newspapers in 1907 and an explanation for their rapid growth over the previous two decades. The Sunday paper in its modern form was "of comparatively recent origin," Foxcroft says. In 1907, the article notes, New York had fifteen Sunday papers, Chicago and Philadelphia each had eleven, and Boston had four. Among the reasons for the growth of these papers were 1) the lower cost of paper; 2) greater use of the linotype and other more efficient printing technology; 3) cheaper illustrations made possible by photography; 4) less expensive telegraph tolls; 5) the "development of the newspaper 'syndicate'"(259) which supplies articles, interviews, illustrations, and other material; and 6) the growing influence of advertisers who helped to fund these publications. Foxcroft says that the typical Sunday paper might run 100 pages in 1907, and perhaps 46 of those pages would be devoted to advertising. Department stores ads were especially prominent and more than 9,000 other advertisers appear. Also, the "paper virtually make itself an employment bureau" (260) in that it prints announcements of job openings.
The article argues that the Sunday paper appeals to a low level of intelligence and that its influence tends to secularize Sundays. Foxcroft discusses the uses of color in comic sections. "What can be the mental condition of the adult person who thinks them even faintly funny? These gaudy atrocities have now had a run of several years," he complains. "Ten years ago the present monstrosities would have seemed incredible." (260) He goes on to say that "the average Sunday newspaper is ill-suited for Sunday, and, in spite of its vast bulk, it is a poor apology for a newspaper. It is ill-suited to Sunday because ordinarily it makes no recognition whatever of the sacred character of the day, but is wholly given up to secular interests and amusements." (261) Reading the Sunday paper was a family endeavor and led families to by-pass church attendance. "A family which has saturated itself with the Sunday newspaper is in no mood for church-going, nor for any serious occupation. It is fit for nothing but amusement or sheer idleness," the author writes. (263) Religious leaders were often forced to sensationalize their sermons in order to compete with the Sunday paper. "American preachers who are charged with sensationalism are not so blameworthy as they seem. They are engaged in a desperate competition," Foxcroft contends. (263)
The newspaper syndicate gives unlimited copy, often paid for by advertisers, free to papers. Illustrations that appear in New York papers also appear in the Chicago papers. The article discusses the distribution system of these papers and notes that during the summer months, special trains are dispatched on Sunday mornings to deliver papers "to the distant seaside and mountain resorts." (261) These urban papers are circulate "far into the country districts" as well. (262)
One type of Sunday paper sought to appeal to the "masses" and usually featured the prominent use of color, "dramatic gossip, pictures of actresses, and 'society' news" as well as sports. (262) Pictures of "stage scenes and portraits of actresses and society leaders" made up a significant part of the Sunday papers. (262)
The author concludes that the "influence of the Sunday newspaper is dissipating intellectual energy and lowering standards of taste in art and literature is not easily measured. In these respects it works along the same lines as the indefinitely-multiplied ten-cent magazines which strew the counters of the news stands. But reaches a lower level and achieves a wider circulation. The typical American is a more omnivorous reader than any other national type. He leaves behind him in the street-cars and railroad trains a trail of discarded papers and magazines with which he has beguiled his journey. It is a pity that, for his one leisure day of the week, he should find nothing better than what is provided for him by the average Sunday newspaper." (264) Despite all its shortcomings, the author concludes that "the Sunday newspaper is very rarely immoral. It may be inane, trivial, flippant, but it is usually morally innocuous. Its aim is to please, divert and entertain the widest possible constituency, and it does not care to provoke criticism by offenses against decency." (264) sensationalism journalism journalism illustrations fame celebrity cartoons celebrity culture actors acting actors acting magazines photography books, periodicals, newspapers advertising and public relations newspapers, and advertising advertising, and newspapers newspapers, and Sunday papers newspapers, and linotype color color, and Sunday papers newspapers, and color newspapers, and illustrations illustrations, and Sunday papers newspapers, and religion religion, and newspapers religion newspapers, and novels newspapers, and fiction actors, and Sunday papers newspapers, and sports newspapers, and cartoons cartoons, and Sunday papers values values, and Sunday papers newspapers, and values modernity modernity, and newspapers newspapers, and modernity new way of seeing news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and Sunday papers newspapers, and motion pictures photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography advertising, and sensationalism sensationalism, and advertising women women, and Sunday papers newspapers, and women photography and visual communication women, and photography photography, and women celebrity, and Sunday papers photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and celebrity culture critics critics, and Sunday papers newspaper syndicates newspapers, and syndicates Sunday newspapers personality advertising motion pictures Foxcroft, Frank The American Sunday Newspaper 24150 Frank, Richard H. Media/Entertainment White House Conference for a Drug Free America, Post Conferees Meeting Version, May 1988 Reminiscences of Richard D. Heffner
May 1988
attached to Jack Valenti to Richard Heffner/Simon Barsky (Inter-Office Memo), June 16, 1988, Exhibit 88-11, Box 4, "RDH Pre-Oral History Memo for Chuck Champlin for the Year 1988" In 1988, Richard H. Frank, of Walt Disney Studio and a former president of the Academy of Television Arts and Sciences, said that the “media... have an undeniable responsibility to become a full partner with the government and citizens” in the war on drugs and he offered a lengthy twelve-point plan that would force the entertainment industry to adopt even stricter policies than the Motion Picture Association of America and the Classification and Ratings Adminstration (CARA) had in place. Richard D. Heffner, who was head of CARA, objected to Frank’s proposal. The most effective contribution that the rating system could make to the campaign against narcotics abuse, he told Jack Valenti, “should be rating explanations generally ... with drug content prominently included.” This document is Exhibit 88-11, Box 4, Columbia Oral History Collection, Butler Library, Columbia University, New York, NY. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation corporations corporations Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) archives motion pictures Disney law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA Disney Studio Frank, Richard H., and Disney motion pictures and popular culture television motion pictures, and war on drugs television, and war on drugs censorship censorship, and war on drugs Heffner, Richard, and war on drugs CARA, and drug use rating system (U.S.), and drug abuse Valenti, Jack, and war on drugs Heffner, Richard Frank, Richard H. Media/Entertainment White House Conference for a Drug Free America, Post Conferees Meeting Version, May 1988 36050 Frankel, Max U. S., Soviet Agree to Film Exchange: 10 Top American Movies Sold Include 'Marty,' 'Oklahoma!' -- Johnston Takes Seven New York Times
Oct. 10, 1958
36 This article discusses the film exchange worked about between the United States and USSR in 1958. Eric Johnston negotiated with Nikita Khrushchev. It names the U.S. films that the Soviet agreed to take and the Soviet movies the U.S. agreed to show. Motion Picture Association of America (MPAA) Soviet Union Khrushchev, Nikita Eisenhower administration , news motion pictures USSR non-USA motion pictures, and foreign markets motion pictures, and foreign policy Eisenhower, Dwight D. presidents and new media Eisenhower, Dwight D., and motion pictures Johnston, Eric Johnston, Eric, and USSR MPAA Motion Picture Export Association Khruschchev, Nikita, and motion pictures motion pictures, and Nikita Khruschchev Frankel, Max U. S., Soviet Agree to Film Exchange: 10 Top American Movies Sold Include 'Marty,' 'Oklahoma!' -- Johnston Takes Seven 34010 Frankel, Oz Potholes on the Information Superhighway: Congress as a Publisher in Nineteenth-Century America David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
137-62 The author notes that "the modern state created powerful apparati, purposefully devised to provide mass, uniform, transparent and ostensibly authorless fact, befitting 'the age of information;' for instance, the national census." He explains that "rather than offer a master narrative on ascendance of the state through the dispensation of knowledge, in what follows I will demonstrate the inevitable dissonance and cracks in the informative performances of the state in the context of my particular historical episode -- mid-nineteenth century production of reports and other documents by the federal government. Two arguments are central to my analysis. Without neglecting [Geoffrey] Nunberg's important insights, I will argue first that the material facets of state publications -- the physical properties that rendered them books and artifacts -- often eclipsed any information purpose, or at least never ceased calling attention to themselves; and second, that the making of government documents actually aggrandized rather than diminished individual authors and authorship."
Frankel's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. nationalism books, periodicals, newspapers nationalism and communication print cutlure printing, and government nationalism, and government printing print Frankel, Oz Potholes on the Information Superhighway: Congress as a Publisher in Nineteenth-Century America 28870 Frantz, Joe B. Oral History Interview of Joe B. Frantz: II (interviewd by David G. McComb) Oral History Collection, Lyndon Baines Johnson Library, Austin, TX
Sept. 10, 1972
http://www.lbjlib.utexas.edu/johnson/archives.hom/oralhistory.hom Frantz, a historian who had a long relationship with Lyndon Johnson, mentioned in this interview that Jack Valenti came back to the White House with the President after John F. Kennedy was assassinated. He had never been there before than "that night going through the darkened basement over to the West Wing in the Executive Office Building said he didn't know who was the butler and who was the cabinet officer because he had never seen any of these people before. They all impressed him, in the dark." (p. 27) Motion Picture Association of America (MPAA) MPAA Johnson, Lyndon Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories Johnson, Lyndon Valenti, Jack Valenti, Jack, and LBJ presidents and new media oral histories, and Joe B. Frantz oral histories Frantz, Joe B. Oral History Interview of Joe B. Frantz: II (interviewd by David G. McComb) 38550 Fraser, W. Lewis A Word about The Century's Pictures Century's Illustrated Magazine
Jan. 1895
49 3 478-79 This article talks about the various processes Century Magazine used to illustrate its pages. By 1895, Century, together with McClure's and Munsey's, were the leading magazines in the United States using illustration. The article says that first the was a traditional for of wood engraving. Then came a new school of wood engraving that was improved. There followed the half-tone process "which claimed to be able to reproduce the work of the artist by mechanical means, and without the intervention of the engraver." (479) But the half-tone process has problems "as the deepest darks cannot be rendered by it, nor the highest lights, only the middle of the scale of the drawing can be reproduced." (479) Wood-engraving, once thought to be made obsolete by the half-tone process, is still being used by Century's. And where the half-tone process is incomplete, the engraver now sometimes adds what is missing from the pictures. The article ends by noting the relative cost of these processes. "First-class wood-engraving is ten times dearer than good half-tone; engraved half-tone costs three or four times as much as unengraved or ordinary half-tone." (479) wood engraving journalism journalism fame celebrity magazines, and photography magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality newspapers, and photographs photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving photography, and Century Fraser, W. Lewis A Word about The Century's Pictures 34650 Frasier, David K. Russ Meyer -- The Life and Films: A Biography and a Comprehensive Illustrated and Annotated Filography and Bibliography Jefferson, N.C. McFarland & Company, Inc.
1990
This work offers a short biography (1-25) of filmmaker Russ Meyer, who became known as "king of the nudies" with such movies as The Immoral Mr. Teas (1959). The work offers a filmography and a good annotated bibliography about Meyer and his work, including articles discussing the censorship of his films and their historical signficance in the history of sex and the cinema. Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories motion pictures sexuality bibliographies bibliographies, annotated sexuality, and bibliographies Meyer, Russ biography censorship and ratings motion pictures, and censorship Frasier, David K. Russ Meyer -- The Life and Films: A Biography and a Comprehensive Illustrated and Annotated Filography and Bibliography 9740 Frazier, P. Jean and Cecilie Gaziano Robert Ezra Park’s Theory of News, Public Opinion and Social Control Journalism Monographs
Nov. 1979
64 This article deals with Park's research regarding newspapers and their role in society. Park saw motion pictures as less divisive than newspapers, the authors maintain. “Media such as newspapers are potentially divisive forces because new gives rise to different point of view. Media such as motion picture are potentially integrative,” the authors write. “Movies (and later television) portray themes closer to ordinary people, are able to evoke the most elemental and primitive feelings and function as a means of displaying emotion and attitudes, more nearly universal than news.”
In urban areas, Park believed that newspapers provided “a function formerly supplied by the village gossip. In smaller communities, the newspaper cannot compete with village gossip as a means of social control....” People living in cities “are influenced and modified by the intricate system of communication which takes on a special form, relying upon secondary, rather than primary, contacts. The newspaper, the telephone and the mails take the place of village gossip and the town meetings as initiators of opinion and morale.”
The authors note that Park saw newspapers helping to bring immigrants into the national culture. “Park’s interpretation was that the American native-language immigrant press served to strengthen the national identity of the immigrant population, but, by printing articles abut the United Sates as well, it also served to socialize the newcomers as Americans and assimilate them into American culture.” Chicago, IL journalism news and journalism values newspapers news books, periodicals, newspapers newspapers, and Robert Park Park, Robert values, and newspapers Chicago School newspapers, and sociology Frazier, P. Jean and Cecilie Gaziano Robert Ezra Park’s Theory of News, Public Opinion and Social Control 5460 Frederick, H. A. Vertical Sound Records: Recent Fundamental Advances in Mechanical Records on ‘Wax’ H. E. Roys, ed. Disc Recording and Reproduction Stroudsburg, PA Dowden, Hutchingon [sic] & Ross, Inc.
1978
38-49 This article is reprinted from the Society of Motion Pictures Engineers Journal, 18 (Feb. 1932), 141-52. It discusses progress recently made in mechanical records of sound cut on wax disks. Laboratory experiments note marked increases in volume, frequency range, and faithfulness to the original sound that is being recorded. sound recording sound recording, and wax disks sound recording, and improvements (1932) Frederick, H. A. Vertical Sound Records: Recent Fundamental Advances in Mechanical Records on ‘Wax’ 690 Freeburg, Victor Oscar The Art of Photoplay Making New York Macmillan
1918
This book considers the nature of cinema as seen by the author around 1915 to 1918. Freeburg discusses similarities and differences between cinema and the stage, spectacle, painting, sculpture, and novels. "When we examine the photoplay as an art medium we discover that it inherits something from each of the elder arts, and yet differs essentially from them all." (1) A movie, he says, is not a "novel in celluloid." (4) Silent cinema used words, Freeburg writes, and in fact moves were “so full of words that we must spend one third, or half, our time reading words, and the remainder of the time appreciating pictures. And our interests are so divided that we are impressed neither by the literature nor by the pictures.” (166) The subtitle used in the photoplay "bears a strong resemblance to the chapter heading of a novel" (173) Yet at the same time, the "chapter of a novel are logical divisions which have not corresponding parts in the photoplay." (173) Chapter IX is entitled "Words on Screen" (166-77). The good movie maker needed to realize that the photoplay was “first and last a picture play.” (178)
Freeburg said the movie’s appeal is more to the emotions than to the intellect, but that it does appeal to the intellect in that people are fascinated with novelty and learning new things. “The intellectual appeal of the photoplay is slight compared with its emotional appeal. The momentary, flashing nature of the exhibition and the psychology of crowd give the spectator little opportunity or desire to exercise his intellectual faculties. Yet he has certain intellectual experiences while seeing a photoplay. The fundamental one is the satisfaction of curiosity. We constantly desire new material to add to our store of knowledge. We crave novelty. The average American scans his newspaper with bated breath. The recognition of a thing as new is an intellectual process. Our judgment declares a thing new by comparing it with the old which we already possess. Then the new itself becomes old and the adventure of the mind must begin again. Only yesterday the motion picture itself was a kind of novelty….” (18)
Cinema is new in its ability to use nature, to create the illusion of the supernatural, to reverse the laws of nature, and to apparently breathe life into inanimate objects. (87) For "the first time in the history of narrative representation, nature herself may be made to play an important role." (4) "The cinematograph," he writes, "is the great magician of the twentieth century which permits us to see with our physical eyes the things our forbears since the world began saw only in their imagination." (p. 81) The author discusses the visual effect of cinema (11), the visual and the human body (12), films and novelty (18), and cinema and history (82). Freeburg writes that “…And, in any particular case it is an advantage or disadvantage, it is certain that the cinematograph may present to our eyes, to our sense of wonder, many things which formerly were presented only to our imagination.” (82)
Freeburg considers the camera and “metamorphosis” (82). The camera “materializes the startling metamorphosis of myth makers.” (83) It provides the illusion of ghosts and visions (84-85), and with it “the laws of nature may be reversed or set aside.” (87)
Reprinted as The Art of Photoplay Making? (New York: Macmillan Company; Arno Press & the New York Times, 1918; 1970). theater stage history words vs. images motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and magic motion pictures, and special effects cinema of attractions images vs. words cameras motion pictures, and new art form motion pictures, and psychology photography motion pictures motion pictures, and history history and new media history, and motion pictures audiences motion pictures, and audiences audiences, and motion pictures motion pictures, and psychology media effects motion pictures, and media effects media effects, and motion pictures motion pictures, and magic special effects, and motion pictures motion pictures, and special effects modernity modernity, and motion pictures motion pictures, and modernity new way of seeing space and time theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and magic motion pictures, and special effects cinema of attractions cameras motion pictures, and new art form motion pictures, and psychology sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures advertising and public relations special effects Freeburg, Victor Oscar The Art of Photoplay Making 7810 Freedman, David H. and Charles C. Mann The Strange Case of the World’s Biggest Internet Invasion New York Simon & Schuster
1997
The book recounts a series of 1992 Internet break-ins masterminded by a young “cracker” (i.e., a hacker with bad intentions)known as “Phantom” or “Infomaster.”
The Phantom broke into computer systems at NASA, Los Alamos, MIT, the National Institute of Health, Oregon State, the University of Texas, and many other places. Freedman recounts these break-ins in detail. National Aeronautics and Space Administration (NASA) computers surveillance law, and privacy law privacy computers and the Internet computers, and privacy privacy, and computers computer hackers MIT NASA computers Freedman, David H. and Charles C. Mann The Strange Case of the World’s Biggest Internet Invasion 10 Freedman, Jonathan L. Media Violence and Its Effect on Aggression: Assessing the Scientific Evidence Toronto University of Toronto Press
2002
Freedman, a psychology professor at the University of Toronto, says that he "systematically" read and reviewed "every single scientific study" he "could find that dealt with the question whether exposure to film and television violence causes aggression." He concludes that exposure to media violence does not cause "children or anyone else to become aggressive or to commit crimes." Nor does this media effects research "support the idea that it causes people to be less sensitive to real violence." As for the many organizations -- the American Medical Association, the American Psychiatric Association, the National Institute for Mental Health, and others -- that have concluded that media violence has harmful effects, especially for children, Freedman argues they have been misled by committees dominated by so-called "experts" who have a vested interest in finding harmful effects. Freedman acknowledges that the Motion Picture Association of America funded his research, although he maintains that the MPAA in no way influenced his conclusions. He speculates that the MPAA offered him support because his views were already well known.
--SV

Freedman’s book must have come as a great shock to the section of the American academic community that studies how viewing media violence affects aggressive behavior. In his book “Media Violence and its Effect on Aggression,” he refutes every major study conducted during the last fifty years that sought, or claimed, to prove that watching violent media content made adults and children more aggressive.
He states that every important study to date on the connection between the two issues is flawed in at least one significant way. The most common problem concerns sample sizes that are too small or don’t represent the particular community of study. But an equally common issue has to do with the difference between correlation and causality. Freedman points out that one issue can be correlated with another issue without the existence of a direct causal link. The best example is the one he states about how eating carrots has been shown to decrease the consumer’s chances of suffering a heart attack. While it may be true that people who eat carrots do suffer fewer heart attacks, carrot eaters may live significantly healthier lives than non-carrot eaters. They might suffer fewer heart attacks because they live better, not necessarily because they eat carrots.
His book makes it difficult, to nigh-on impossible, to assess the field of media violence research and the link to aggression with anything but complete skepticism. When the studies did have adequate sample sizes, they failed to adequately account for all variables that could lead adults and children to become more aggressive. One study connected the abuse of a Bobo doll to the fact that children watched videos of adults abusing Bobo dolls. While the study said that the children’s behavior is proof that watching violent content causes aggression, they failed to account for the fact that the children may have viewed the video as an instructional one on how to treat a Bobo doll. In that case, imitation would cause of the abuse of the Bobo doll instead of aggression. Other studies fail to support their own hypothesis and some studies even support the exact opposite hypothesis. One study found that children were more aggressive after watching Sesame Street. Another study found that people living in a town without television reception were more aggressive than people living in a town with television reception. A third study found that people who watched violent programming were less aggressive than those that didn’t.
Freedman discusses several other alternatives that could cause the correlation between violent television viewing and aggression. The two most plausible reasons have to do with the socio-economic status of the parent or parents and the active, but not violent, content of the programs in question. Children from poor households, whether single or two parent, tend to have more time on their hands and be more aggressive by nature. Violent programs tend to have a lot of action as well as violence. It is the action that is triggering the aggression, Freedman states, not the violence.
--Patrick Wright syntheses (of research) Motion Picture Association of America (MPAA) media research journalism, and social science research social science research, and journalism sexuality pornography news and journalism children television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures social science research, and press coverage press coverage, and social science research violence, and press coverage journalism, and media violence critics journalism media effects research, and critics motion pictures and popular culture motion pictures, and media effects media effects, and motion pictures violence violence, and motion pictures motion pictures, and violence media effects research, and MPAA MPAA, and media effects research media violence motion pictures MPAA press Wright, Patrick Freedman, Jonathan L. Media Violence and Its Effect on Aggression: Assessing the Scientific Evidence 20 Freedman, Jonathan L. Viewing Television Violence Does Not Make People More Aggressive Hofstra Law Review
Summer, 1994
22 833-55 Freedman, a psychology professor at the University of Toronto, says that he read and reviewed all of the media effect literature dealing with the television violence He concludes that exposure to media violence does not cause children or other to become aggressive or take part in real-world violence. Nor does this media effects research support the view that TV violence causes people to be less sensitive to violence in the real world. As for the many organizations -- the American Medical Association, the American Psychiatric Association, the National Institute for Mental Health, and others -- that have concluded that media violence has harmful effects, especially for children, Freedman argues they have been misled by committees dominated by so-called "experts" who have a vested interest in finding harmful effects. media research journalism, and social science research social science research, and journalism sexuality pornography news and journalism children television television, and violence violence, and television social science research social science research, and violence violence, and social science research violence, and pornography pornography, and violence media effects media effects, and TV violence media violence, meta-analyses social science research, and literature review social science research, and meta-analysis violence, and children children, and media children, and media violence motion pictures, and violence violence, and motion pictures social science research, and press coverage press coverage, and social science research violence, and press coverage journalism, and media violence critics journalism media effects research, and critics motion pictures and popular culture motion pictures, and media effects media effects, and motion pictures violence violence, and motion pictures motion pictures, and violence media violence motion pictures press Freedman, Jonathan L. Viewing Television Violence Does Not Make People More Aggressive 3600 Freeman, Chris Long Waves of Economic Development Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
602-16 The author maintains that the "depression of the 1980s is part of a long-term cycle first identified by Kondratiev. Information technology will provide the engine of renewed economic growth, but new post-Keynesian policies are also needed to help get us out of the mess." At the time of this paper, Freeman was with the Science Policy Research Unit at Sussex University in England. This piece was part of his address to the annual meeting of the British Association for the Advancement of Science in August, 1983, and was first published in the Symposium's proceedings, New Technology and the Future of Work and Skills (London: Frances Pinter, 1984). computers nationalism communication revolution second industrial revolution communication revolution future and science fiction non-USA microelectronics information technology computers and the Internet nationalism and communication capitalism, and microelectronics revolution microelectronics revolution Great Britain capitalism, restructuring of Kondratieff, Nikolai Kondratieff cycles information technology, and industry communication revolution future capitalism Freeman, Chris Long Waves of Economic Development 2960 Freeman, Chris Unemployment and Government Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
308-17 See also: office This essay examines microelectronics technology and unemployment. The author contends that Great Britain has failed to appreciate the significance of the microelectronics revolution, and has failed to keep pace with other nations. The author, at the time, was head of the Science Policy Research Unit at Sussex University, and this paper was the foundation of a lecture given at the University of London in May, 1978. computers communication revolution second industrial revolution communication revolution non-USA microelectronics information technology Great Britain computers and the Internet microelectronics revolution Great Britain, and microelectronics labor information technology, and industry capitalism microelectronics revolution, and unemployment automation labor, and microelectronics Great Britain Freeman, Chris Unemployment and Government 42490 Freeman, Lewis R. Movie Signboards: How the Cinema Has Advertised American Goods in Foreign Lands Saturday Evening Post
Jan. 17, 1920
192 12-13, 61 This article gives examples in such places as Java, Australia, and Argentina, of how American movies have stimulated demand for American goods. In Java, it was an electric sewing machine shown in movie. In Australia and Argentina, it was demand for a certain type of addle seen in films set in the American west. The movies signboard, according to Freeman, "belongs almost exclusively to America" (13) and he suggests that its full potential will developed in the future. What does the author mean by "movie signboards." He is referring "only to the type of film made and sent out for amusement purposes -- most of which would doubtless classify as photo plays -- and in which the display of some article (of?) possible foreign export is quite incidental to the development of the plot. These are, of course, quite distinct from outright advertising and demonstration films, which both American European manufacturers have sent abroad for a number of years (to?) popularize and induce certain of their articles...." (13)
This article brings to made an argument made later by movie industry presidents Will H. Hays and Eric A. Johnston, that movies were "salesmen" for American goods. electric lighting motion pictures theaters motion pictures, and theaters theaters, and motion pictures advertising and public relations advertising, and motion pictures motion pictures, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing electricity theaters electricity, and theaters electricity, and motion pictures motion pictures, and electricity children and media motion pictures, and children children, and motion pictures media effects motion pictures, and media effects media effects, and motion pictures motion pictures, and electric signs electric signs, and motion pictures capitalism motion pictures, and capitalism capitalism, and motion pictures capitalism, and movie signboards advertising, and movie signboards motion pictures, and movie signboards motion pictures, and influence abroad motion pictures, and cultural imperialism motion pictures, and advertising abroad motion pictures, and entertainment films as advertising Hays, Will H. Johnston, Eric advertising children Freeman, Lewis R. Movie Signboards: How the Cinema Has Advertised American Goods in Foreign Lands 35220 Freeman, Y. Frank Statement Hearings, Motion-Picture Distribution Trade Practices -- 1956: Problems of Independent Motion-Picture Exhibitors, U. S. Congress. Senate. Subcommittee of the Select Committee on Small Business, Eighty-Fourth Congress, Second Session May 21, 1956 347-60 In this Statement, Freeman, then Vice President of Paramount Pictures, commented on several matters including the need for studios to produce films that appealed to an international audience rather than merely an American audience. With the foreign market, he said, Hollywood would soon be out of business. It became necessary, therefore, to “search for material to fit the international market rather than the domestic market,” and to produce films that appealed to “universal” tastes rather than to specific American preferences. (353) He also discussed cooperation with the Pentagon and on such topics as VistaVision (something Paramount spent more than $3 million on during the mid-1950s). nationalism motion pictures motion pictures, and foreign policy motion pictures, and independent producers motion pictures, and foreign film motion pictures, and American-interest films CinemaScope VistaVision motion pictures, and CinemaScope censorship and ratings military communication motion pictures, and military motion pictures, and military censorship motion pictures, and foreign markets nationalism and communication motion pictures, and nationalism motion pictures, and 3D motion pictures, Paramount Freeman, Y. Frank Statement 1420 Fried, Richard M. The Russians Are Coming! The Russians Are Coming!: Pageantry and Patriotism in Cold-War America New York Oxford University Press
1998
Although Richard Fried’s The Russians Are Coming! (1998) is not explicitly about the relationship between mass communications and Cold War history, it does in fact argue for the primacy of print and visual media in the rhetorical maintenance of the Cold War. Fried explains in his introduction that he is less interested in hard-line, “official” Cold War rhetoric than he is in the rhetoric of anti-Communism as it appeared in peoples everyday lives. With this premise in mind, Fried’s book is about how typical citizens in post-war America turned to public pageantry to affirm that the “American Way of Life” was politically and morally superior to Communism. As this study eventually demonstrates, Cold War pageantry often depended on the manipulation of mass media for its effectiveness, a manipulation that meant pageant organizers were complicit with mass media outlets in constructing the Communist “other.”
One of the most compelling examples of how Cold War pageants were designed and executed for the sake of the mass media is the “Day Under Communism” staged in Mosinee, Wisconsin on May Day, 1950. Fried explains that this was an elaborate pageant designed to show what America would look like if Communists took over. There were various events scheduled throughout the day, such as the arrest of the town’s nuns and the switching of the movie theaters feature from an American film to Communist propaganda. As Fried shows, the scope of the Day Under Communism was defined largely by how it would play in the media: “The media transfigured the pageant. Their omnipresence altered the target audience from local to national, and thus performance too. Newspapers received an exact schedule of events, but to avoid crowds the public did not. The mayor’s arrest was rerun until cameramen were satisfied. At Red Square, newsreel men stirred the crowd into raising its fists.”(80) What all these examples suggest is that the media had a key role in the Mosinee pageant. Fried in fact argues that because the day was staged for maximum media exposure, it ironically meant that it was a one-shot affair; although organizers hoped hundreds of small American towns would follow Mosinee’s example, the handful that did try saw disappointing results because the media was generally not in attendance. As the example of Mosinee shows, the rhetoric of everyday anti-Communism depended both on the imagination of the organizers, and the willingness of the media to “transfigure” this imagination.
In addition to an exploration of Mosinee’s Day Under Communism, Fried examines other American pageants meant to promote the American Way of Life in the face of the Communist threat. For example, he discusses the Freedom Train, which was loaded with artifacts representing American values and which traveled from town to town, gathering ideological support for, among other things, American foreign policy. But the very nature of the pageant--a small train that had been hyped for weeks before coming to a given town--meant that only a fraction of the towns population got to actually go inside the train: “In Charlotte, North Carolina, some 100,000 citizens came to the exhibit but only 8,416 got in. In Los Angeles, 400,000 lined up but fewer than 30,00 got aboard.” (40) In order to maximize the social and political impact of the Freedom Train, then, Fried shows how organizers turned to mass media to advertise the exhibit across the nation. In late 1946, before the physical exhibit had even been put together, the idea was put to “forty-two leaders of mass media. . . . It required a full media blitz and the talents of those present to reach the millions who would never board the train.” (32-3) The success of the Freedom Train thus depended not on the public actually viewing the contents of the train, but on the mass media coverage that figured the exhibit as a symbol of American freedoms and values.
As the examples of Mosinee and the Freedom Train attest, Cold War pageantry was successful in mustering public support for the governments campaign against Communism, but such pageants were only as effective as the mass media outlets that promoted them. Fried's study reminds one, then, that while the specter of Communism was often a rhetorical construct fashioned by fearful Americans, this construct reached the public at large through the mass media, which meant that Communism’s perceived threat perhaps gained more currency than its actual one. The Russians Are Coming! is thus a powerful reminder of the medias power to transform pageantry into social reality.
--Steve Belletto nationalism advertising, and public relations propaganda public relations motion pictures Belletto, Steve nationalism and communication nationalism, and pageantry television motion pictures and popular culture newsreels nationalism, and newsreels advertising, and nationalism nationalism, and advertising patriotism, and advertising advertising, and patriotism advertising patriotism news news and journalism Fried, Richard M. The Russians Are Coming! The Russians Are Coming!: Pageantry and Patriotism in Cold-War America 34100 Friedberg, Anne The Virtual Window David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
337-53 The author notes that "as the twentieth century ended, new systems of circulation and transmission began to replace the projection screen, and to link the screens of the computer and television with the dialogic interactivity of the telephone. This paper -- part of a larger project called The Virtual Window: A Cultural History of Windows and Screens -- is, in many ways, both a pre-quel and sequel to my book Window Shopping. It means to expand an account of the emergence of a mobilized and virtual visuality backward, in a thicker history of the framed visuality of the window, and forward, to the window's ever more virtual functions. Along the way, we will reconsider a history of what used to be called 'spectatorship': because, I will argue, the very term 'spectatorship' has lost its theoretical pinions, as screens have changed,as has our relation to them." (338)
Friedberg's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. visual communication computers interactive media computers and the Internet screens computers, and screens screen, and computers virtual reality television interactivity media convergence audiences computers, and audiences television, and audiences television, and computers computers, and television digital media screens, as windows telephones visual culture computers Friedberg, Anne The Virtual Window 12440 Friedel, Robert Pioneer Plastic: The Making and Selling of Celluloid Madison University of Wisconsin Press
1983
This 153-page book (the text runs 114 pages) is a well-researched case history of one technological innovation, celluloid. Celluloid first appeared in the 1860s, although it revolutionary nature became apparent only later after subsequent innovations in plastics technology. In terms of the quantity sold, celluloid was not one of the major materials of the late nineteenth century. Its historical importance lies, Friedel believes, partly in the fact that it was the first artificial plastic, and it played an important role in demonstrating “the expansion of man’s material capabilities.” Friedel makes clear that the original inventors of celluloid did not at first understand its potential. John Wesley Hyatt, for example, was attempting to make a better billiard ball. During celluloid’s first years it became identified with the “artificial” and the “imitative,” and was associated with “cheapness” in the way plastics in general were often seen. With celluloid’s application to photography and cinematography, though, it began to shed its association with imitation and artificiality.
Friedel makes clear that celluloid revolutionized photography and made possible motion pictures. But he devotes relatively few pages (90-96) to celluloid and photography/cinema. His study, instead, attempts to place celluloid in the larger context of American and British technology and innovation, as well as the development of a plastics industry. Eastman Kodak photography advertising, and public relations propaganda public relations motion pictures inventions innovation materials cinema motion pictures celluloid film cinematography non-USA motion pictures and popular culture motion pictures, and celluloid celluloid plastics photography and visual communication Hyatt, John Wesley Eastman, George Kodak Great Britain Great Britain, and celluloid Marey, E. J., and celluloid cameras, and celluloid film, and celluloid materials revolution, and celluloid inventors and innovation advertising, and celluloid bakelite Celluloid Manufacturing Company cinematography, and celluloid celluloid, and motion pictures celluloid, and cinematography celluloid, early uses Parkes, Alexander photography, and celluloid celluloid, and photography Spill, Daniel Xylonite, advertising cameras materials advertising Marey, Étienne Jules materials revolution Friedel, Robert Pioneer Plastic: The Making and Selling of Celluloid 2310 Friedel, Robert and Paul Israel with Bernard S. Finn Edison's Electric Light: Biography of an Invention New Brunswick, NJ Rutgers University Press
1986
This well-illustrated work offers an accessible account of the invention of electric lighting. The authors attempt to engage readers in the process of invention and with regard to the electric light, it was a complex process. “There is clearly something to be said for trying to understand this process better, not just because it has been one of the most important agents for change in the last two centuries, but because it is a part of the human adventure,” they write. Beyond this goal, they also have two other objectives. One is to give “a truer and richer story based on a more faithful reading of the evidence, as opposed to the usual perpetuation or arbitrary inversion of myth.” The other “is an experiment in archival historiography.” The work is grounded in the Thomas A. Edison Papers and it tries “to rely exclusively on the contemporary archival record of the activities surrounding the electric light’s development from 1878 to 1882.” lighting innovation materials patents generators electric lighting electricity electric lights lighting, and electricity Edison, Thomas Edison, Thomas, and electric light electric lights, and vacuum electric lighting, and arc lights electric lighting, and carbon carbon, and electric lights Clarke, Charles, and electric lights lighting, gas generators, and electric lights electricity, and generators electric lighting, and lamps inventions inventors electric lights, and inventors Menlo Park electric lights, and Pearl Street electric lights, and patents patents, and electric lights electric lights, and press vacuum, and electric lights electric lights, and Francis Upton electric lights, and Charles Clarke electric lights, and John Kruesi electric lights, and Grosvenor Lowrey Edison, Thomas, and archives archives, and Thomas Edison archives, and electric lights electric lights, and archives materials archives Friedel, Robert and Paul Israel with Bernard S. Finn Edison's Electric Light: Biography of an Invention 12310 Friedel, Robert D. Lines and Waves: Faraday, Maxwell and 150 Years of Electromagnetism New York Institute of Electrical and Electronics Engineers, Inc.
1981
This brief, 32-page work offers a introduction to the work of Michael Faraday and James Clerk Maxwell, and to the development of electromagnetism. Others who find brief mention here include William Thomson, Lord Kelvin, Heinrich Hertz, Ludwig Boltzmann, and Henry Rowland. Work on electromagnetism led to the development of radio during the late 1890s and the twentieth century. In addition to radio, research in this area also laid a foundation for microwave, radar, fiber-optics, advances in the generation of power and its transmission, and lasers. The work is amply illustrated with pictures. illustrations fiber optics materials fiber optics non-USA electricity electromagnetism illustrations optical fibers radar microwaves lasers Faraday, Michael Maxwell, James Clerk Thomson, William Kelvin, Lord Hertz, Heinrich Boltzmann, Ludwig Rowland, Henry radio telegraph engineering Friedel, Robert D. Lines and Waves: Faraday, Maxwell and 150 Years of Electromagnetism 27140 Friedman, David The Fat Cat of Porn; Al Goldstein Claims He's Misunderstood: 'I've created this character the Fred Flintstone of Flesh, and that's all the know.' Newsday
Sept. 4, 1990
2 8 There is information in this article about how Al Goldstein used cable television to build a lucrative business in pornography. Pornographers found new opportunities on cable. Goldstein, who in 1968 had started a magazine called Screw, exploited “leased public access” television in Manhattan to begin “Midnight Blue.” This cable program, which started in 1975, featured interviews with porn stars, topless women, and ads for escort and telephone sex services. sexuality news and journalism books, periodicals, newspapers law pornography television television, and pornography pornography, and television magazines pornography, and magazines magazines, and pornography cable TV, and pornography pornography, and cable TV pornography, and Al Goldstein Goldstein, Al law, and cable pornography cable Friedman, David The Fat Cat of Porn; Al Goldstein Claims He's Misunderstood: 'I've created this character the Fred Flintstone of Flesh, and that's all the know.' 19380 Friedman, Jane Regulation of Obscenity by Federal Agencies Commission on Obscenity and Pornography Technical Report of The Commission on Obscenity and Pornography: Volume V: Societal Control Mechanisms Washington, D. C. U. S. Government Printing Office
[1971]
15-34 5 See also: violence See also: sexuality This essay, which appears in the fifth volume in the Report of the President's Commission on Obscenity and Pornography, discusses how federal agencies have regulated pornography. Commission on Obscenity and Pornography (1970) social science research values sexuality values media effects values community law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity pornography, and antisocial behavior media effects, and pornography pornography, and effects community standards, and pornography pornography, and community standards censorship, and citizen action groups pornography, and citizen action groups citizen action groups, and pornography citizen action groups, and censorship censorship, and antiporn groups pornography, and Post Office postal service Post Office, and pornography pornography, and Customs Bureau pornography, and federal control post office Friedman, Jane Regulation of Obscenity by Federal Agencies 1560 Friedman, Joseph S. with Introduction and Appendix by Lloyd E. Varden History of Color Photography London and New York The Focal Press
1944, 1968
The text of this work runs 504 pages plus additional pages for the index, appendix, and bibliography. This technical history of color photography has little information on the social implications of this development. This work is aimed at a reader with a background in science and substantial working knowledge of photographic processes. photography photography and visual communication color, and photography photography, and color photography, and color (scientific process) color color, and history of color Friedman, Joseph S. with Introduction and Appendix by Lloyd E. Varden History of Color Photography 13230 Friedman, Lester D. Hollywood's Image of the Jew New York Ungar
c1982
The individuals who built the movie industry became a new elite. But many Americans viewed them as amoral. Anti-Semitism permeated disputes over who would control movies. motion pictures and popular culture motion pictures motion pictures, and Jews motion pictures, and anti-Semitism motion pictures, and actors' status Friedman, Lester D. Hollywood's Image of the Jew 4370 Friedrichs, Günter and Adam Schaff eds. Microelectronics and Society: For Better or for Worse: A Report to the Club of Rome Oxford, Eng. Pergamon Press
1982
See also: office This work, copyrighted by the Club of Rome, attempts to assess the significance of microelectronics. Observing that the National Academy of Sciences in the United States has compared the arrival of modern electronics to a "second industrial revolution" of perhaps greater import than the first industrial revolution, the authors of this volume ask if such statements are exaggerated. They conclude that they are not. "We are inclined to accept that the impact of the integrated circuit is revolutionary. No other single invention or discovery since the steam engine has had a broad impact on all the sectors of the economy. Even the availability of electric power merely gave a further, if powerful, impulse to the process of mechanisation initiated by steam power.... the first Industrial Revolution enormously enhanced the puny muscular power of man and animals in production; the second will similarly extend human mental capacity to a degree which we can hardly envisage now."
A primary concern of this book is how the microelectronics revolution will affect the Third World, which has been unable to take advantage of many benefits coming from the first industrial revolution. Another question involves whether industrialized society can assimilate these impending changes or will they hasten the breakdown of society. The authors note that microelectronics could lead to unemployment as well as create a better society for workers.
Essays in this volume include: Alexander King's "Introduction: A New Industrial Revolution or Just Another Technology?"; Thomas Ranald Ide, "The Technology"; Ray Curnow and Susan Curran, "The Technology Applied"; Bruno Lamborghini, "The Impact of the Enterprise"; John Evans, "The Worker and the Workplace"; Günter Friedrichs, "Microelectronics and Macroeconomies"; Juan F. Rada, "The Third World Perspective"; Frank Barnaby, "Microelectronics in War"; Klaus Lenk, "Information Technology and Society"; Alexander King, "Microelectronics and World Interdependence"; and Adam Schaff, "Occupation versus Work." R & D computers nationalism microprocessing transistors, and integrated circuits labor research and development war communication revolution second industrial revolution communication revolution archives digital media digitization Third World communication revolution, and second industrial revolution capitalism war non-USA office, and information technology microelectronics libraries labor information technology libraries, and information storage Information Age computers and the Internet microelectronics revolution Third World, and microelectronics second industrial revolution Industrial Revolution military communication information processing automation labor, and microelectronics microprocessors integrated circuits transistors miniaturization information storage nationalism and communication microelectronics, and history of labor office, and new media nationalism, and new media military, and new media digital divide nationalism, and microelectronics capitalism, and new media communication revolution materials office Friedrichs, Günter and Adam Schaff eds. Microelectronics and Society: For Better or for Worse: A Report to the Club of Rome 33230 Frieman, Edward A. The Energy Sector Anne G. Keatley, ed. Technological Frontiers and Foreign Relations Washington, D. C. National Academy Press
1985
165-90 Frieman observes that "the world today [1985] is entering the second decade of a new energy regime following the Arab oil embargo of 1973 and the economic shock of the oil price explosion." (185) Frieman sees energy policy closely bound up with energy technology, but concludes that "energy planning has fallen into disrepute, and much of the apparatus for examining these issues is being dismantled. The base of support for R & D in energy-related technology has also been whittled away. The world survived the major economic dislocation of the energy-related shocks of the 1970s, but perhaps not as well as some would like to believe." (190) R & D nationalism energy nationalism and communication military communication research and development Frieman, Edward A. The Energy Sector 37590 Frohman, Daniel Actress Aided by Camera Cosmopolitan
Feb. 1897
22 4 413-20 Daniel Frohman, who was a leading theatrical producer and manager during the late 19th century, says that flashlight photography often yielded pictures not faithful the an actor's or actress's face but they were good for "depicting the physical character of the dramatic situation." (413) He says that "theatrical photographing" has become "a very important factor in play advertising." (413) He notes that many newspaper have set up "pictorial departments" and publish scenes from plays. "Other publications which have a theatrical department, including the weekly papers, have found theatrical pictorial literature both profitable and desirable." (414) Frohman notes that "sometimes ... a handsome woman, or an actor with an interesting face, is not successful as a subject for the camera," and that such cases "need the most careful study" because "the camera is capricious and sometimes whimsical." (416) The "sale of actors' photographs," though, remains "a large, if not the largest, factor in the photographer's profits...." (416) Photographs of scenes from plays has become common, Frohman explains, and "in the course of a season, an actor or actress spends many hours in posing at a studio." (418) The article concludes with Frohman discussing the arrival of moving pictures ("in which forty views are taken in a single second!") and how they may be combined with the gramophone. (420) The current "aim of the entire photographic scheme is to secure a life-like, faithful and artistic reproduction of the play or actor." These pictures are reproduced in "lithographic form for show printing.... The fancy and purely imaginative pictures of actors and of situations in plays, for advertising purposes, are largely a thing of the past," he says. (420) theater journalism fame celebrity photography, and celebrity culture magazines, and photography actors acting magazines photography celebrity culture fame personality photography, and new art form motion pictures, and psychology theater and stage photography, and stage stage, and photography photography, and celebrity celebrity, and photography fame, and photography photography, and fame motion pictures, and stars audiences media effects photography, and audiences audiences, and photography sexuality photography, and sexuality sexuality, and photography modernity modernity, and motion pictures motion pictures, and modernity new way of seeing photography, and acting acting, and facial expression acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting women women, and beauty women, and cameras women, and acting acting, and women advertising and public relations photography, and public relations photography, and advertising photography, and advertising photography and visual communication advertising, and motion pictures motion pictures, and advertising news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines fan magazines magazines, fan newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures magazines, and motion pictures motion pictures, and magazines photography, and half tones half tones half tones, and newspapers newspapers, and half tones photography, and newspapers advertising motion pictures stage Frohman, Daniel Actress Aided by Camera 33380 Frost, Gary Lewis The Evolution of Frequency Modulation Radio, 1902-1940 Chapel Hill University of North Carolina, Chapel Hill
2004
Abstract from UMP ProQuests Digital Dissertations: "This dissertation revises the traditional 'great man' history of frequency modulation (FM) radio. For half a century, FM has been assumed to be solely the revolutionary brainchild of the 'lone wolf' genius, Edwin Howard Armstrong, who invented 'wideband' FM radio in 1933. In fact, the development of FM was more an evolutionary than revolutionary process. The concept of frequency modulation radio dates to 1902, and soon after that year, thousands of wireless operators incorporated frequency modulation radiotelegraphy into their normal practice. Interest in FM radiotelephony first took root two decades later, when some engineers hoped to alleviate several technical problems spawned by the broadcasting boom of the early 1920s. Little of their work proved fruitful, however, partly because FM research was dispersed among several laboratories. In 1928, however, an organizational shift in the U.S. radio manufacturing industry caused FM research efforts to be consolidated into the Radio Corporation of America (RCA). Armstrong, who enjoyed a close relationship with RCA, learned about that work and used the knowledge to accelerate the development of wideband FM. This study illuminates the social-technical dynamic of FM specifically, and technological development in general, by examining the roles of three communities: (1)RCA engineers, whose successes and failures with FM informed Armstrong's choices, (2)amateur radio culture, which helped educate the generation of men who developed FM radio after 1920, and (3) 'FM pioneers' broadcasters whom Armstrong recruited to back and promote his system, after RCA declined to do so. FM pioneers also helped discover several advantages of Armstrong's system that had eluded him. It was FM pioneers also, and not Armstrong, who persuaded the FCC to establish the first commercial FM broadcast service in 1940. Thus, the inventor of wideband FM was no lone wolf inventor, but rather a first-among-equals “heterogeneous engineer” who invented and obtained acceptance for his version of an idea that had been evolving unsteadily for forty years." FM radio radio radio, FM frequency modulation (FM radio) Armstrong, Edwin RCA, and FM radio RCA Frost, Gary Lewis The Evolution of Frequency Modulation Radio, 1902-1940 39450 Fry, Roger An Essay on Aesthetics Roger Fry Vision and Design New York Brentano's
[1924]
This essay, which appeared originally in 1909 in the New Quarterly, begins by taking a common definition of painting which said "The art of painting ... is the art of imitating solid object upon a flat surface by means of pigments," and then asks "It that all?" (16) Fry says that humans have "the peculiar faculty of calling up again" in their minds "the echo of past experiences" and "of going over it again, "'in 17/18 imagination' as we say." Human being have, "therefore, the possibility of a double life; one the actual life, the other the imaginative life." (17-18) Fry says that "the graphic arts are the expression of the imaginative life rather than a copy of actual life might be guessed from observing children." (20)
Fry considers photography and cinema. "We can get a curious side glimpse of the nature of this imaginative life from the cinematograph. This resembles actual life in almost every respect, except that what the psychologists call the cognitive part of our reaction to sensations, that is to say, the appropriate resultant action is cut off." (18) We may be able to see the runaway horse and cart more clearly than in the heat and heightened emotions of the actual event, but our response to this event when seen in a moving picture or a photograph is less strong. Fry says that "with regard to the visions of the cinematograph, one notices that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the consciousness. If the scene present be one of an accident, our pity and horror, though weak, since we know that no one is really hurt, are felt quite purely, since they cannot, as they would in life pass at once into actions of assistance." (19) Later he says the following about the impact of the graphic arts: "But it is different, I think, with the emotional aspect. We have admitted that the emotions of the imaginative are generally weaker than those of actual life. The picture of a saint being slowly flayed alive, revolting as it is, will not produce the same physical sensations of sickening disgust that a modern man would feel if he could assist at the actual event; but they have a compensating clearness of presentment to the consciousness. The more poignant emotions of actual life have, I think, as kind of numbing effect analogous to the paralysing influence of fear in some animals; but even if this experience be not generally admitted, all will admit that the need for responsive action hurries us along and prevents us from ever realising fully what the emotion is that we feel, from co-ordinating it perfectly with other states. In short, the motives we actually 26/27 experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. In the imaginative life, on the contrary, we can both feel the emotion and watch it. When we are really moved at the theatre we are always both on the stage and in the auditorium." (26-27)
Fry comments on the relationship between the life of the imagination and morality. "What then is the justification for this life of the imagination which all human beings live more or less fully? To the pure moralist, who accepts nothing but ethical values, in order to be justified, it must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, since it absorbs our energies, positively harmful. To such a one two views are possible, one the Puritanical view at its narrowest, which regards the life of the imagination as no better or worse than a life of sensual pleasure, and therefore entirely reprehensible The other view is to argue that the imaginative life does subserve morality. And this is inevitably the view taken by moralists like Ruskin, to whom the imaginative life leads to some very hard special pleading, even to a self-deception which is in itself morally undesirable." (21) Fry says that "Morality, then, appreciates emotion by the standard of resultant action. Art appreciates emotion in and for itself." (27) Fry argues that "Art ... is ... the chief organ of the imaginative life; it is by art that it is stimulated and controlled within us, and, as we have seen, the imaginative life is distinguished by the greater clearness of it perception, and the greater purity and freedom of its emotion." (24)
In discussing the ways in which the artists influences our emotion, Fry comments briefly on the significance of light and color. "The Fourth element is that of light and shade. Our feelings toward the same object become totally different according as we see it strongly illuminated against a black background or dark against light.
"A fifth element is that of colour. That this has a direct emotional effect is evident from such words as gay, dull, melancholy in relation to colour." (34) Later he says of color: "Colour is the only one of our elements which is not of critical or universal importance to life, and its emotional effect is neither so deep nor so clearly determined as the others...." (35)
With regard to art exactly reflecting Nature, Fry concludes by saying: "We may, then, dispense once and for all with the idea of likeness to Nature, of correctness or incorrectness as a test, and consider only whether the emotional elements inherent in natural form are adequately discovered, unless, indeed, the emotional idea depends at any point upon likeness, or completeness of representation." (38)
The book in which this essay appears, contains several other pieces written by Fry prior to 1924. psychology history censorship censorship photography photography and visual communication motion pictures history and new media photography, and history history, and photography motion pictures, and history history, and motion pictures media effects media effects, and photography photography, and media effects motion pictures, and media effects media effects, and motion pictures photography, and psychology motion pictures, and psychology psychology, and motion pictures psychology, and photography emotion, and photography photography, and emotion emotion, and motion pictures motion pictures, and emotion values values, and photography values, and imagination values, and motion pictures motion pictures, and values censorship and ratings censorship, and motion pictures motion pictures, and censorship censorship, and photography photography, and censorship color color, and emotion emotion, and color lighting, and emotion emotion, and lighting censorship emotion lighting Fry, Roger An Essay on Aesthetics 11780 Fukuyama, Francis The Great Disruption: Human Nature and the Reconstitution of Social Order New York Free Press
1999
Fukuyama believes that revolutionary changes are underway in biology and information technology. He argues that while the information society has enhanced freedom and equality, it has had a darker side. The information age has signaled a shift from Industrial society, and that shift began during the mid-1960s. The period from then until the 1990s has been “marked by seriously deteriorating social conditions in most the industrialized world.” Changes have included rising crime rates and social disorder, and the “decline of kinship as a social institution.” While the decline in kinship has been underway for more than two centuries, Fukuyama argues that this trend accelerated sharply during the last half of the twentieth century. Fertility, marriages, and births fell in most of Europe and in Japan. Divorce and out-of-wedlock births soared. Trust in institutions declined. This change in social values since the mid-twentieth century the author calls the “Great Disruption.”
Fukuyama argues that the change from an industrial to an information society, and the erosion of values are “intimately connected, and that with all of the blessings that flow from a more complex, information-based economy, certain bad things also happened to our social and moral life. The connections were technological, economic, and cultural. The changing nature of work tended to substitute mental for physical labor, thereby propelling millions of women into the workplace and undermining the traditional understandings on which the family had been based. Innovations in medical technology like the birth control pill and increasing longevity diminished the role of reproduction and family in people’s lives. And the culture of intensive individualism, which in the marketplace and laboratory leads to innovation and growth, spilled over into the realm of social norms, where it corroded virtually all forms of authority and weakened the bonds holding families, neighborhoods, and nations together.”
This work is divided into three parts. Part One discusses the Great Disruption and its causes. Part Two considers more general questions about the nature of social order and its evolution in times of change. Part Three asks “Does Capitalism Deplete Social Capital?” technology nationalism women, and new media preservation communication revolution information technology history, and new media community communication revolution, and second industrial revolution censorship and ratings change non-USA history history, break with capitalism capitalism, and values values technology and society information age Industrial Revolution second industrial revolution crime change, acceleration of women Japan Europe Australia Canada crime Denmark Great Britain nationalism and communication Finland France Germany Italy Korea Ireland networks Netherlands New Zealand home information technology, and home information technology, and family information technology, and office birth control Spain Weber, Max children home, and new media nationalism, and new media children, and new media community, and new media communication revolution democracy children, and media Fukuyama, Francis The Great Disruption: Human Nature and the Reconstitution of Social Order 38770 Fuller, Edward The Decadent Drama Lippincott's Monthly Magazine
Sept. 1895
423-26 The author comments on the popularity of the theater and the apparent changing attitudes that the public takes toward it. "The prejudices which once retarded the development of the drama with us have apparently ceased to operate. They are cherished by some highly respectable persons still, but the people in general no longer regard them. The very men and women who once would have explained away an occasional visit to a theatrical production by saying that they valued the educational influence of Shakespeare or Sheridan are now able to sit through a performance of the latest burlesque without a blush. It is a marvelous change, and it some respects an inexplicable one." (423)
Fuller says that "there are good plays and good actors still; but what proportion do they bear to the sickly, silly, nauseous, and vulgar stuff and the coarse, crass, crude performers whose names are on all the playbills in letters a foot long?" (424) He goes on to say that "the tendencies of the time are downward and not upward. It is not such a very long step to complete degradation." (424)
There are several reasons why modern drama has become decadent, in Fuller's estimation. 1) "The desire for mere display, which is characteristic of the age, has exercised, on the whole, a baneful influence upon dramatic taste.... When the production is everything the play has little chance. Audiences learn to regard the drama simply as a 'show' and to estimate it accordingly. This is our potent reason for its decadence...." (424) 2) "Another reason for the decay of the drama is its triviality." (424) Financial interests play a role here. "Commercialism is ever the bane of art, and commercialism necessarily dominates the theatre." (425) 3) "Still another reason for the decay of the drama is its immorality. Too many of the pieces brought upon the stage in these days are thoroughly vulgar and debasing. And the worst of it is that so many professional moralists suffer acutely from ethical strabismus. It is seldom the genuinely immoral play that gives rise to the loudest out-cry. We reserve our denunciations, not for the dirty burlesque or the adulterous farce, but for the drama which deals frankly and fearlessly with the existing social conditions...." (425)
Fuller was pessimistic about audiences and their tastes. "Naturally our farces and burlesques are becoming very vulgar indeed. Even when they do not deal hilariously with breaches of the moral law, they turn serious subjects into ridicule, destroying the reverence of youth and the ideals of manhood. Audiences , as a rule, are not quick to perceive a tendency in all its implications.... We cannot depend upon the great mass of theatre-goers for any regeneration of the theatre. These are not very largely recruited from the cultivated classes. They are in the main middle-class Philistines, with thoroughly Philistinish ideas. It is idle to talk to them about are: they do not know what art is. And yet the theatre cannot be regenerated without their aid." (426) It is, the author, says a problem that is perhaps "unsolvable." (426) theaters stars (actors) theater journalism fame celebrity anti-theatrical bias critics critics, and actors critics, and theater critics, and acting critics, and degenerate theater actors acting actors acting morality magazines theater theater, and celebrity culture celebrity culture celebrity, and theater personality fame, and theater theater, and fame theater, and stars values values, and theater theater, and values actors, and status of anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality women women, and theater theater, and women critics critics, and actors critics, and theater critics, and professional acting motion pictures, and stars (origins) news and journalism actors, and journalism journalism, and actors actors, and newspapers newspapers, and actors magazines, and actors actors, and magazines theater, and religion religion, and theater audiences theater, and audiences audiences, and theater censorship religion Fuller, Edward The Decadent Drama 12730 Fuller, Kathryn H. At the Picture Show: Small-Town Audiences and the Creation of Movie Fan Culture Washington, D. C. Smithsonian Institution Press
1996
This fine study examines the way in which people in small towns experienced motion pictures and how those experiences helped to create movie fan culture. This work is interesting on advertising and motion pictures as it is on the origins of celebrity culture in America. celebrity audiences advertising, and public relations theaters propaganda public relations censorship and ratings children law censorship and ratings censorship celebrity culture audiences motion pictures and popular culture motion pictures motion pictures, and theaters theaters, and motion pictures audiences, and motion pictures motion pictures, and audiences children, and motion pictures motion pictures, and children motion pictures, and celebrity culture celebrity culture, and motion pictures motion pictures, and actors' status advertising, and motion pictures motion pictures, and advertising censorship, and motion picture advertising advertising children, and media Fuller, Kathryn H. At the Picture Show: Small-Town Audiences and the Creation of Movie Fan Culture 9750 Fulton, Marianne ed. Eyes of Time: Photojournalism in America Boston Little, Brown
1988
The essays in this collection have good information on the development of photojournalism. Changes in the technology of photography during the nineteenth century are covered. So, too, are technological changes that made photo essays possible and led to the rise of Life magazine.
For example, Estell Jussim’s essay, “The Tyranny of the Pictorial,” makes the following observations about the period from the 1860s to the 1880s: “The period of transition from wood engravings based on photography to the success of halftone engravings of photographs capable of newspaper and magazine publication began with Stephen Horgan’s crude ‘Shantytown’ in 1880. Although crusading special artists had preceded him as reporters for news publications, Jacob Riis probably deserves the credit for establishing photojournalists as recorders of scientific fact. Joseph Pulitzer and William Randolph Hearst knew how to exploit photography to increase the circulation of their sensationalist journals. Undoubtedly, it was the Spanish-American War that gave photojournalists their first major opportunity to prove their worth, since it coincided with Stephen Horgan’s ingenious solutions to the problems of the stereotype and the screened halftone as applied to the cylindrical newspaper presses.
“The need to document the social evils perpetrated by ruthless economic practices of monopolies fueled the use of the camera for reform. Increasing reliance on the camera for documentation of all kinds encouraged the belief that photography was a reliable witness to truth. At the same time, the turn of the century saw critics voicing their suspicions that the profligate and ubiquitous use of photographic images was having a detrimental influence on rational discourse. The cultivated public had its doubts, calling the threat to literature ‘the tyranny of the pictorial,’ while the masses thoughtlessly responded to every sensation.” R & D journalism nationalism photography newspapers research and development war journalism news and journalism military communication news and journalism non-USA photography and visual communication news news, and transmission of photographs news transmission Germany photography and visual communication photojournalism Riis, Jacob Luce, Henry Life Daguerre, Louis daguerreotype photography, and news news, and photography photography, and Mexican War photography, and Civil War Gardner, Alexander cameras Jussim, Estelle photography, and photo essay Germany, and photo essay photography, and Associated Press Cooper, Kent news, and wire photos (origins) photography, and wire photos journalism, and photography photography, and reform military, and photography nationalism and communication nationalism, and photography photography, and Spanish-American War newspapers, and photographs Shantytown (1880) Jussim, Estelle journalism Fulton, Marianne ed. Eyes of Time: Photojournalism in America 7600 Furnas, Dr. C. C. Why Did U.S. Lose The Race? Critics Speak Up Life
Oct. 21, 1957
43 17 22-23 The author argues that the U.S. could have launched a satellite as early as 1955 but did not because the defense establishment adopted a “tragically naive and shortsighted” view “that research not directly related to the development of military hardware is entitled to only secondary consideration.” A number of prominent senators (Henry “Scoop” Jackson from Washington, and Stuart Symington from Missouri) and others are quoted. USSR Soviet Union, and space war non-USA space communication aeronautics and space communication satellites Cold War Sputnik Symington, Stuart Jackson, Henry Soviet Union space race Soviet Union, and satellites rocketry military communication Furnas, Dr. C. C. Why Did U.S. Lose The Race? Critics Speak Up 25780 Gabler, Neal Life the Movie: How Entertainment Conquered Reality New York Alfred A. Knopf
1998
See also: violence See also: sexuality This well-written book discusses the many ways that real life has come to reflect motion pictures and other forms of popular culture spread by mass media. This insightful book is a good introduction to celebrity culture in the United States. advertising, and public relations propaganda advertising motion pictures journalism Hollywood news and journalism motion pictures and popular culture media effects public relations media literacy media literacy, and motion pictures motion pictures, and media literacy news news, and motion pictures motion pictures, and reality motion pictures, and critics Hollywood, and critics Gabler, Neal Life the Movie: How Entertainment Conquered Reality 33000 Gabler, Neal Walter Disney: The Triumph of American Imagination New York Alfred A. Knopf
2006
Gabler’s 700-page Disney biography uses numerous sources to describe conversations, events and situations, often telling the story from both protagonist and antagonist points of view. Gabler set out to “understand Walt Disney, one of the most emblematic of Americans” because to understand him is to “understand much about the country in which he lived and so profoundly affected.” (xx)
In Chapter 1: The Disneys lived everywhere from Canada to Florida, in cities and on farms, as farmers, miners and realtors, but first and foremost as pioneers. Walt, the youngest son of Elias and Flora Disney, mostly grew up in Chicago, Marceline, MO, and Kansas City. Marceline proved to be the most important hometown for Walt, even though he only lived there for a few years when he was very young: “More things of importance happened to me in Marceline than have happened since or are likely to in the future” (13).
Walt (as he is called throughout the book) was raised in a setting that could not have been more American. A strict and sober but hard working father, a loving mother and the sense of belonging to a community, in Chicago and Kansas City but mostly in Marceline. His strict father and the feelings that Marceline evoked in Walt were the most important factors that drove him into his imaginary world of drawing, sketching and animation. After he worked for the Red Cross in France for a year, at age seventeen, he returned to Kansas City to become a cartoonist.
Chapter 2: It didn’t take Disney long to start his own company. Animation was a new field and money was tight as assignments were scarce. Walt, not a good businessman, went bankrupt several times but persisted he had a dream and that was what mattered.
Chapter 3: Disney eventually traded rural Kansas City for overwhelming environment of Los Angeles, where he and his brother Roy started out with making “shorts” that featured adventures of a (real life) young girl against animated backgrounds: Alice’s Wonderland. They manage to sell them, but money remained tight. The Disney brothers manage to start their own business but due to naiveté in his business and contract deals, Walt slowly changed. Setbacks and employee betrayals make him suspicious and somewhat bitter, making him seek refuge in his own imaginary world.
Chapter 4 discusses the birth of Mickey Mouse who was born out of anger on a train ride from New York to LA after Walt has been conned by Charles Mintz, who owned the rights to Disney’s shorts that feature Oswald the Rabbit. Mintz set up his employees against Disney, offering them better pay Disney’s back. Mickey Mouse saved the Disney studio, however, because of the implementation of sound in the cartoons, a novelty for animation. Disney thrived as the mouse and its merchandise become hugely popular.
Chapter 5: Mickey “civilizes” over the years from a mischievous mouse into a decent, well-dressed “middle class character”, which evokes a negative response among critics, who called Disney “boring.” Donald Duck was brought on the stage to be Mickey’s counterpart and adversary, and this move turned out to be golden. As Disney’s popularity rose, Walt was treated almost as a divine being by his workers, a development which helped to turn the studio into a cult-like work environment. Walt doesn’t consider himself to be a boss, which only adds to his status.
Chapter 6: But money was still tight (and remained so well into the 1950s), so in order to create more revenue, Disney made a full-length animated movie: Snow White and the Seven Dwarfs. Because of Disney’s desire for perfection, it takes years of heavy lending and mortgaging while living on the brink of poverty, but when the movie is finally finished, it is a huge success, not only cinematographically but also commercially. Snow White merchandise earned the company enough to get out of its financial difficulties, at least for a time.
Chapter 7: While Mickey Mouse and Donald Duck meant the start of Disney merchandizing, Snow White meant the definitive breakthrough for the commercialization of animation. The studio turned to creating Bambi and Pinocchio, but war was around the corner.
Chapter 8: As Disney grew bigger, Walt became more disengaged with the drawing and the workers as the company grew to 1,200 employees in 1940. His dream was outgrowing him and he had trouble staying in control and maintaining his desired level of perfection. World War II and the rise of labor unions made him desperate: all he wanted was quality, but all he got was worker’s strikes. Labor unrest eventually led to the destruction of Walt’s “perfect haven” as strikers and non-strikers failed to work together as amicably as they had earlier.
During World War II, Disney made propaganda films for the government, but due to his poor business skills, he lost money. Nonetheless, some of his movies and shorts were hugely successful, mainly the short The New Spirit, that carries a message across to the people that they have to pay their taxes in order to support the US war effort.
Chapter 9: After the war, Disney picked up on regular production, planning to release several films per year but his efforts were plagued with financial troubles once again. Disney also lost himself in anti-Communist politics of the postwar and as the popularity of animations waned, the studio starts to focus more on live-action films instead of cartoons. Disney retreated in his own world, he developed a love for miniature trains. Then, Disney released the company-saving animated film Cinderella.
Chapter 10: Never failing to amaze, Walt drafted a new and even bigger idea while toying with his trains: Disneyland. It would become a life-sized imaginary world and from that point on, he only lived for his theme park. It was modeled after Marceline and was supposed to be an image of the small town America not unlike the town he loved and grew up in. The theme park opened in 1955.
Chapter 11: Disneyland became so popular that even Soviet premier Nikita Khrushchev insisted that he and his wife be allowed to visit it in 1959. But Walt was already looking beyond his theme park: he wished to build an actual city. This so-called Experimental Prototype Community of Tomorrow (EPCOT) never saw the light of day, however, because Walt died before he could complete the plans and without him, no one knew how to continue the project. It was eventually erected as a permanent international fair, but not as the city Disney intended it to be.
--Bart Nijman Nijman, Bart motion pictures corporations Biography, Autobiography, Oral Histories Biography, Autobiography, Oral Histories motion pictures motion pictures and popular culture Disney, Walt biography, and Walt Disney Walt Disney Studio values values, and Disney Cold War, and Disney Disney, and Cold War Disney, and politics Disneyland modernism modernism, and Disney Disney, and modernism Disney, and populism television television, and Disney children and media children, and Disney Disney, and children war World War II World War II, and Walt Disney Disney, and World War II Disney, and new technology war, and popular culture popular culture, and war Cold War, and popular culture children Cold War Disney popular culture capitalism capitalism, and Walt Disney propaganda propaganda, and World War II World War II, and propaganda World War II, and Walt Disney Disney, Walt, and World War II Disney, Walt, and propaganda propaganda, and Walt Disney biography modernity Gabler, Neal Walter Disney: The Triumph of American Imagination 5690 Gabor, Andrea The Man Who Discovered Quality: How W. Edwards Deming Brought the Quality Revolution to America-- the Stories of Ford, Xerox, and GM New York Times Books, Random House
1990
Part of this work discusses photocopying and the Xerox corporation. corporations corporations corporations xerography duplicating technologies duplicating technologies Xerox Corporation photocopying Carlson, Chester Deming, W. Edwards Ford Motor Company General Motors Corp. capitalism Gabor, Andrea The Man Who Discovered Quality: How W. Edwards Deming Brought the Quality Revolution to America-- the Stories of Ford, Xerox, and GM 5700 Gabriel, Michael R. and Dorothy P. Ladd The Microfilm Revolution in Libraries Greenwich, CT JAI Press Inc.
1980
The opening chapter of this book offers a brief, but good, history of microfilming starting with John Dancer in 1839. It covers the explosion in microfilm acquisitions between 1950 and 1970. Chapter 6 deals with “Micrographics & Government Publication.” Most of the book is addressed to librarians with such chapters as “Microformats and Associates Library Collections,” “Computer Output Microfilm,” “Serials in Microform,” “Monographs in Microform,” and so forth. computers nationalism microfilm archives computers microfiche, microfilm, microform libraries libraries, and information storage information storage information storage duplicating technologies information storage microfilm, and history of microfilm, and libraries libraries microform microfilm, and computers nationalism and communication microfilm, and government publications Dancer, John microfiche microform, and computer-output computers, and microform computers and the Internet information storage nationalism, and microfilm libraries, and microfilm Gabriel, Michael R. and Dorothy P. Ladd The Microfilm Revolution in Libraries 7610 Gaddis, John Lewis The Long Peace: Inquiries Into the History of the Cold War New York Oxford University Press
1987
Chapter 7 is entitled “Learning to Live with Transparency: The Evolution of a Reconnaissance Satellite Regime.” R & D USSR nationalism photography research and development war war non-USA reconnaissance photography, and satellites photography and visual communication aeronautics and space communication satellites reconnaissance, satellite satellites, and reconnaissance Cold War Soviet Union photography and visual communication nationalism and communication photography, satellite satellites, and photography military communication nationalism, and satellites military, and satellites Cold War, and satellites Gaddis, John Lewis The Long Peace: Inquiries Into the History of the Cold War 32470 Gage, John Color and Culture: Practice and Meaning from Antiquity to Abstraction Boston A Bulfinch Press Book, Little, Brown and Company
1993
This study of color's influence on culture is an important and substantial book. In this work, Gage notes, "several themes return repeatedly, such as the feeling that verbal language is incapable of defining the experience of colour, or the notion from Antiquity to Matisse of an 'Orient' which was an exciting and dangerous repository of coloured materials and attitudes. These two themes were constantly interrelated in the belief that the rational traditions of Western culture were under threat from insidious non-Western sensuality.... How artists and thinkers in the West negotiated these dangers is a theme of great interest and one which I hope will make my readers look at the traditions of Western art and psychology in a rather different way." (10) Among the informative parts of this work is the author's discussion of the "morality of colour." (204-09). censorship avant garde World War I Kandinsky, Wassily art , color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s materials color, and materials materials, and color Cezanne, Paul, and color color, and Paul Cezanne color, and chemistry color, and dyes color, and Vincent van Gogh van Gogh, Vincent, and color color, and Greeks color, and Impressionism color, and Middle Ages Matisse, Henri, and color color, and Henri Matisse color, and Wassily Kandinsky Kandinsky, Wassily, and color color, and Claude Monet Monet, Claude, and color color, and Isaac Newton Newton, Isaac, and color color, and oil painting color, and van Rijn Rembrandt color, and Renaissance color, and Georges Seurat color, and World War I World War I, and color color, and sensation Jung, Carl, and color color, and Carl Jung Barthes, Roland, and color color, and Roland Barthes color, and philosophy color, and literature color, and painting color, and music Goethe, J. W. von, and color color, and J. W. von Goethe Gauguin, Paul, and color color, and Paul Gauguin Kant, Immanuel, and color color, and Immanuel Kant color, and James Joyce Joyce, James, and color Lichtenstein, Roy, and color color, and Roy Lichtenstein color, and Frank Stella Stella, Frank, and color color, and Ludwig Wittgenstein Wittgenstein, Ludwig, and color color, and Richard Wagner Wagner, Richard, and color values values, and color color, and values color, and morality color, and Bauhaus Bauhaus, and color Eugene Delacroix, and color color, and Eugene Delacroix light, and color color, and light Rembrandt, and color Barthes, Roland lighting Bauhaus war Gage, John Color and Culture: Practice and Meaning from Antiquity to Abstraction 41310 Gage, John Color and Meaning: Art, Science, and Symbolism Berkeley University of California Press
1999
Gage writes that "It may seem curious that a phenomenon which is a primary sensory experience for most of us, and has attracted so many commentators from so many points of view, is far from being understood as a whole. ... The difficulties inherent in attempting to quantify sensations have meant that 'colour' -- the subjective outcome of an objective process of stimulation -- has rarely been considered in a comprehensive way. Since Newton the science and art of colour have usually been treated as entirely distinct, and yet to treat them so is to miss many of the most intriguing aspects." (11)
This work's 21 chapters cover many prominent artists and theorist. Gage's own theoretical approached is laid out in the first three chapters (Part I). "The first, Context of Colour, proposes that an art-historical approach to colour offers the best opportunity for a unifying vision, because of the close engagement of practising artists and craftworkers in colour-perceptions, as well as because many of their works have survived to be analysed by technical methods which are daily increasing in precision and scope." (8) 8/9
"The second chapter, Colour and Culture, seeks to illustrate the historical contingency of colour-perceptin, particularly as they are exemplified in colour-language. (9)
"The third, Colour as Art and Its Literature, is intended to lay out various factors intrinsic to a study of colour in the visual art of the West -- from the technological constraints, to theories accessible to artists and craftworkers, to colour-iconography and its modern interpretation, to viewing-conditions, and on to the language of colour-analysis itself. In this sense, it works in the opposite direction to the immanent method of deconstruction, which starts from the 'text' immediately present to the reader. It adopts the view that, although historiography inevitably works backwards from the present to the past, history as it is experienced does not. And it is one of the tasks of the historian to reconstitute the original order of events." (9)
Gage says that by van Gogh's time experimental psychology had begun to change what people had previously assumed about bright colors. “Yet it was one of the important achievements of thee experimental psychology of van Gogh’s time to have shown that a love of strong, saturated ‘primary’ colours was not the preserve of primitives or of children, but was also common among educated European adults (see p. 250); and this was a line of research which went hand-in-hand with the development of a new range of bright synthetic pigments and dyes. It was these psychological as well as technological developments that lay behind what has always been recognized as the enormously expanded interest in highly contrasting hues that marks the visual expression of twentieth-century Western culture, and which has sometimes been characterized, rather misleadingly, as the emancipation of colour in the modern world.” (31)
During the latter half of the nineteenth century, color-study had "deepened and ramified" the "traditional mystery" of color "to the point where it could become a central preoccupation of painters seeking new means of expression." (249) Experimental psychology was changing the way people thought about color. "A series of studies carried out in the Leipzig psychological laboratory of Wilhelm Wundt in the 1890s and early years of this century [20th century] was directed towards establishing colour-aesthetics on an empirical basis by means of controlled experiments with many subjects. In an early study of 1894, Jonas Cohn had already discovered that most of his subjects (who were all educated men) preferred combinations of highly saturated colours, and particularly saturated complementaries, and he noted that this preference had hitherto been regarded as peculiar to primitives and the uncultivated. In a series of experiments of 1910-11, F. Stefãnescu-Goangã came to the conclusion that the feelings produced in his subjects by colours were the direct effect of sensory perception, rather than the result of associations, which were secondary phenomena. This work tended towards the view that colour-sensations themselves could be free of associative elements -- could be more abstract." (250) Just how much artists were aware of this research is unclear, Gage says, "but what is clear is that, in the early development of abstraction, painters interested in colour were experimenting in very much the same way as the psychologists; they used analogous experimental procedures, and sometimes came to very similar conclusions." (250) In a section entitled "Kandinsky's grammar of colour" (250-53), Gage quotes Kandinsky as saying that "Generally speaking, colour directly influences the soul." (Kandinsky quoted, 252)
With regard to women and color, Gage writes that "the widespread perception that women are more discriminating than men in their use of colour may be linked to the relative rarity of colour-deficiencies in female vision." (33) illustrations censorship avant garde Kandinsky, Wassily art , color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s materials color, and materials materials, and color Cezanne, Paul, and color color, and Paul Cezanne color, and chemistry color, and dyes color, and Vincent van Gogh van Gogh, Vincent, and color color, and Greeks color, and Impressionism color, and Middle Ages Matisse, Henri, and color color, and Henri Matisse color, and Wassily Kandinsky Kandinsky, Wassily, and color color, and Claude Monet Monet, Claude, and color color, and Isaac Newton Newton, Isaac, and color color, and oil painting color, and van Rijn Rembrandt color, and Renaissance color, and Georges Seurat color, and sensation color, and philosophy color, and literature color, and painting color, and music Goethe, J. W. von, and color color, and J. W. von Goethe Gauguin, Paul, and color color, and Paul Gauguin color, and Frank Stella Stella, Frank, and color color, and Richard Wagner Wagner, Richard, and color values values, and color color, and values color, and morality color, and Bauhaus Bauhaus, and color Eugene Delacroix, and color color, and Eugene Delacroix light, and color color, and light Rembrandt, and color lighting color, and film film, and color color, and psychology color, and sensation color, and light light, and color light color, and experimental psychology media effects color, and media effects media effects, and color women women, and color color, and women illustrations color, and illustrations illustrations, and color painting Bauhaus film Gage, John Color and Meaning: Art, Science, and Symbolism 40220 Gage, John Color in Art London Thames & Hudson
2006
In this nicely illustrated (in color) 224-page book, John Gage focuses primarily on the use of color in art during the 20th century. "Since many artists in the twentieth century, notable Matisse (1869-1954) and Kandinsky (1866-1944), at a time when the radical reshaping of modern art called for manifestos and extensive verbal commentary, have been remarkably articulate about their approach to colour, I have drawn more heavily on them than on the pre-modern painters I looked at in my earlier books; and this means that I give here greater prominence to recent art than in those earlier studies. I have also extended the discussion into two new areas: to non-European art, where it seems to me that some colour issues are articulated more clearly than in the European tradition; and to media other than painting and sculpture -- film, performance and other multi-media works -- where there are new issues at stake and new ways of approaching the old ones. This book is concerned with the history of colour, but is not itself a history; rather, each chapter develops a theme from physics, or chemistry, or psychology, or linguistics, for example, which is intended to pinpoint that discipline's relationship with art. Although it begins with physics and chemistry, and works through physiology, colour is primarily a psychological phenomenon. Hence, the issues raised are unlikely to be resolved, but instead will be successively reinterpreted and exemplified through the creative ingenuity of artists. I hope by the end of this survey to have conveyed some sense of this endless creativity." (11) censorship avant garde Kandinsky, Wassily art , color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s materials color, and materials materials, and color Cezanne, Paul, and color color, and Paul Cezanne color, and chemistry color, and dyes color, and Vincent van Gogh van Gogh, Vincent, and color color, and Greeks color, and Impressionism color, and Middle Ages Matisse, Henri, and color color, and Henri Matisse color, and Wassily Kandinsky Kandinsky, Wassily, and color color, and Claude Monet Monet, Claude, and color color, and Isaac Newton Newton, Isaac, and color color, and oil painting color, and van Rijn Rembrandt color, and Renaissance color, and Georges Seurat color, and sensation color, and philosophy color, and literature color, and painting color, and music Goethe, J. W. von, and color color, and J. W. von Goethe Gauguin, Paul, and color color, and Paul Gauguin color, and Frank Stella Stella, Frank, and color color, and Richard Wagner Wagner, Richard, and color values values, and color color, and values color, and morality color, and Bauhaus Bauhaus, and color Eugene Delacroix, and color color, and Eugene Delacroix light, and color color, and light Rembrandt, and color lighting color, and film film, and color color, and psychology color, and sensation Bauhaus film Gage, John Color in Art 2560 Gaisberg, F. W. The Music Goes Round New York Macmillan Company
1942
Fred Gaisberg recalls his work with Emile Berliner and subsequent work in the development of the gramophone and sound recording. See also Jerrold Northrop Moore’s biography of Gaisberg, A Voice in Time (1976). corporations corporations Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories non-USA Russia sound recording Italy sound recording autobiography Berliner, Emile Gaisberg, Fred gramophone phonograph Columbia Phonograph Company Italy, and sound recording Russia, and sound recording sound recording, and Russia Western Electric Company Gaisberg, F. W. The Music Goes Round 2310 Galambos, Louis Looking for the Boundaries of Technological Determinism: A Brief History of the U.S. Telephone System Renate Mayntz and Thomas Hughes, eds. The Development of Large Technical Systems Boulder, CO Westview Press
1988
135-53 Galambos has three goals. One is to discover how technology and politics shaped the American telephone system. A second objective is to ascertain to what extent the telephone system “became a technological system or systems which acquired the type of socio-economic momentum that Thomas P. hugees found in electrical power systems.” Finally, he tries to explain the strategies of the state and others who used the telephone in a way that will further comparative analysis of this technology. technology nationalism labor office office, and new media office telephones nationalism and communication technical systems networks technology and society infrastructure nationalism, and telephones telephones, and nationalism Galambos, Louis Looking for the Boundaries of Technological Determinism: A Brief History of the U.S. Telephone System 27680 Galbraith, Jane His Job: G, PG, PG-13, R and NC-17 Newsday
July 21, 1994
Part II B02 Richard Mosk replaced Richard D. Heffner as head of the motion picture industry's Classification and Rating Administration in July, 1994. He was a 55-year-old Los Angeles attorney and son of a California Supreme Court Justice who specialized in litigation arbitration law. He had been a member of the Warren Commission that investigated John F. Kennedy’s assassination, was on the Iran-U. S. Claims Tribunal following the hostage crisis during the Jimmy Carter administration, and was on the Christopher Commission that investigated the Los Angeles police department after the beating of Rodney G. King. This article quotes MPAA president Jack Valenti as he announced Mosk's appointment: “He has a lawyerly mind, is skillful in mediation, gracious and courteous,” said Valenti. “That’s important when dealing with some of these hysterical people in our business.” As a parent, Mosk said, the rating system had worked for him and he considered preferable to government controls. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture CARA CARA, and Richard Mosk Mosk, Richard Valenti, Jack, and Richard Mosk Mosk, Richard, and Jack Valenti Mosk, Richard, and CARA Galbraith, Jane His Job: G, PG, PG-13, R and NC-17 25560 Galbraith, Jane Taming The Wild Bunch with NC-17 Rating Chicago Sun-Times
March 21, 1993
Show 2 This article is about the re-rating of Sam Peckinpah's 1969 film The Wild Bunch. Some historians considered that film to have been significant in raising the level of violence in movies. The Wild Bunch had originally been rated R in 1969 after Peckinpah reportedly cut six minutes to avoid being given an X. Warner Bros. planned a twentieth-fifth anniversary restored version of The Wild Bunch that would be shown in theaters in 1994 and was timed to coincide with the release of a new laser-disc version. The question of re-rating the new version came shortly before Richard D. Heffner retired from the Classification and Rating Administration. Heffner suspected that Warner Bros. intended to use the deleted violent scenes, and, given that the rating board was now more sensitive to violence than it had been in 1969, it seemed likely that CARA would give the new version an NC-17. The matter stewed until after Heffner retired. Under Heffner’s successor, Richard Mosk, CARA initially rated the new edition of The Wild Bunch NC-17, but studio executives pressed Valenti who pushed for a more lenient rating. CARA, after being assured that the new director’s cut would be the same as the original film, re-issued the R. telephotography Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) photography censorship and ratings rating system (U.S.) rating system (U. S.) media effects media violence Hollywood law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures violence motion pictures, and violence motion pictures, and crime motion pictures, and crime motion pictures, and special effects motion pictures, and special effects motion pictures, and violence violence, and special effects special effects special effects, and violence Hollywood, and new technology cameras photography and visual communication cameras, and telephoto lenses telephoto lenses special effects, and squibs Peckinpah, Sam, rating system (U. S.), and controversies CARA, and re-rating controversies Mosk, Richard CARA, and Richard Mosk Peckinpah, Sam Galbraith, Jane Taming The Wild Bunch with NC-17 Rating 28860 Galison, Peter Einstein's Clocks, Poincaré's Maps: Empires of Time New York W. W. Norton & Company
2003
Chapters in this work deals with the following themes: Synchrony, Coal and Chaos, The Electric World Map, Poincare's Maps, Einstein's Clocks, and The Place of time. time timekeeping clocks Einstein, Albert Poincaré, Jules Henri space (spatial) geography maps electricity time and timekeeping Galison, Peter Einstein's Clocks, Poincaré's Maps: Empires of Time 1450 Gallo, Max The Poster in History, with an Essay on The Development of Poster Art by Carl Arturo Quintavalle (trans. by Alfred and Bruni Mayor) Feltham, Middlesex, England Hamlyn
1974
In this beautiful and richly illustrated book, Gallo divides chapters chronologically, starting in 1789 through 1970. The text discusses major developments in Europe and America with representative posters for each period. Examples of nudity, depictions of women, theater at the turn-of-the-century, motion pictures, war propaganda, are a few of the many themes here. With regard to cinema, Gallo says: “Thanks to movies, people became very much visually oriented at the beginning of the twentieth century. Posters, which were becoming increasingly popular as a means of advertising, had already come to rely on design and colors rather than words to communicate their message. Films accentuated this evolution toward efforts to create immediate visual impact.” Carl Arturo Quintavalle’s essay runs separately from Gallo’s text. (pp. 297-315). At new edition of Gallo's work appeared in 2001 (New York: W. W. Norton). audiences photography women, and new media advertising and public relations propaganda public relations advertising sexuality non-USA women theaters propaganda posters nudity motion pictures photography and visual communication posters, and history of posters, and color color, and posters advertising, and posters motion pictures, and posters theaters, and posters nudity, and posters (1900) posters, and nudity (1900) posters, and motion pictures posters, and theater posters, and advertising propaganda, and posters women, as depicted in posters color advertising color Gallo, Max The Poster in History, with an Essay on The Development of Poster Art by Carl Arturo Quintavalle (trans. by Alfred and Bruni Mayor) 26930 Gambardello, Joseph A. Ministry Barred for Ritter Newsday
March 30, 1990 (City Home Edition)
News 8 This article was part of the coverage of the sex scandal involving Father Bruce Ritter of Covenant House. During 1985-86, Ritter had been a member of the Meese Commission that had made recommendations about prosecuting pornography. sexuality pornography Meese Commission Ritter, Bruce Covenant House, and Bruce Ritter Ritter, Bruce, and pornography pornography, and Bruce Ritter Meese Commission, and Bruce Ritter Gambardello, Joseph A. Ministry Barred for Ritter 2220 Ganley, Gladys D. Unglued Empire: The Soviet Experience With Communications Technologies Norwood, NJ Ablex Publishing Corp.
1996
This thought-provoking book argues that the flood of new communication technologies that entered the USSR during the 1980s -- computers, email, faxes, cellular phones, VCRs, and more -- overwhelmed leaders attempts to control information and played a central role in bringing about the collapse of the Soviet empire. Other writers who have considered this possibility include Scott Shane, Dismantling Utopia (1994), and Manuel Castells, End of Millennium (1998). R & D computers video cassette recorders (VCRs) USSR nationalism email magnetic recording research and development war magnetic tape freedom law censorship and ratings war non-USA television telephones telephones, and Soviet Union information technology nationalism and communication military communication Soviet Union, and collapse of Soviet Union, and information technology information technology, and Soviet Union censorship freedom of expression, Soviet Union Gorbachev, Mikhail telephones, cellular (USSR) facsimile, and Soviet Union electronic mail, Soviet Union computers, and Soviet Union television, and VCRs (USSR) information technology, and Soviet Union Soviet Union computers and the Internet computers electronic mail electronic media duplicating technologies Soviet Union Russia telephones, cellular television, and VCRs VCRs, and Soviet Union nationalism, and VCRs nationalism, and audio cassettes nationalism, and video cassettes censorship, and new media VCRs facsimile Ganley, Gladys D. Unglued Empire: The Soviet Experience With Communications Technologies 8830 Ganley, Gladys D. and Oswald H. Ganley Global Political Fallout: The First Decade of the VCR 1976-1985 Cambridge, MA Center for Information Policy Research, Harvard University
1987
This book provides an informative account of the possible political and social impact of the VCR. The path for the VCR was prepared by audiocassettes and an opening chapter discusses how these tape recorders penetrated various cultures. The authors discuss how governments apparently cannot stop the spread of VCRs and sometimes do not try for economic reasons. They also note the importance of black markets and immigrants in the spread of VCRs.
The authors write: "The means of control thus far instituted by even the most restrictive governments do not appear to be commensurate with the threat posed by VCRs and videocassettes to the information monopolies claimed by many nations. Where controls have been rather rigorously attempted, they have usually been ineffective. This is true even in those countries where information suppression is a high art, such as the USSR and the countries of Eastern Europe. Not even the death sentences imposed by the Islamic government of Iran have stopped the free flow of banned videocassettes on that country’s black market. The result is that, at least for the time being, a sort of de facto global media decentralization has been effected.” video cassette recorders (VCRs) USSR nationalism Europe, Eastern magnetic recording audio tape video cassettes materials materials videotape magnetic tape community democracy law censorship and ratings censorship non-USA nationalism and communication motion pictures sound recording VCRs Soviet Union, and new media Eastern Europe, and new media democracy and media audio cassettes video cassettes global communication Soviet Union nationalism, and VCRs nationalism, and audio cassettes nationalism, and video cassettes censorship, and new media Eastern Europe Europe Ganley, Gladys D. and Oswald H. Ganley Global Political Fallout: The First Decade of the VCR 1976-1985 1260 Garcia, L. T. Exposure to Pornography and Attitudes about Women and Rape: A Correlational Study Journal of Sex Research
1986
22 378-85 See also: violence See also: sexuality This study examined the relationship between self-reported exposure to various types of pornographic content, themes, and media had with an attitudes toward rape (ATR) and an attitudes toward women scale (AWS). Garcia administered his survey to 115 male students and found that a majority of the respondents had to sexual imagery and most had scene or read a Playboy or Penthouse. Contrary to expectations, Garcia failed to find any significant relationships between the pornography use measures and a set of subscales developed from the AWS. For the ATR, consistent with the hypotheses, Garcia found that exposure to violent sexual material resulted in greater feelings of women being responsible for preventing their own rape, rapists not being severely punished, and that women should not resist a rape attack. The correlations were fairly small, however. An important note to this study is that Garcia found little in the way of non-violent/non-coercive pornography being related to poorer attitudes toward women or rape. Furthermore, the relationship between violent/coercive and poorer attitudes to both women and rape was relatively weak.
--Michael Boyle women, and new media women social science research sexuality motion pictures media effects media violence violence Boyle, Michael pornography media effects pornography, and rape myths violence, and pornography pornography, and violence women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects media effects, and violence media effects, and motion pictures pornography, and defenders violence, and pornography pornography, and violence pornography, and no violence Garcia, L. T. Exposure to Pornography and Attitudes about Women and Rape: A Correlational Study 33160 Garlick, Steve Revealing The Unseen: Tourism, Art and Photography Cultural Studies
2002
16 2 289-305 The article draws on Martin Heidegger’s account of modernity to illuminate the interactions between tourism and photography. It is concerned with the question of the role photography plays within touristic experience and the knowledge the photographic practices of tourists produces. Relating the role of photographic images to the constitution of memory and self identity, the author suggests that photography not only plays its part in the production of tourist subjectivities. More importantly, an interesting dimension of the ‘unphotographable’ -- the limitation of enframing tourist experience -- is stressed to enable an artistic way of seeing and understanding tourist photography.
--Huai-Hsuan Chen tourism art Chen, Huai-Hsuan Heidegger, Martin, and photography photography, and Martin Heidegger photography and visual communication photography, and modernism photography, and tourism tourism, and photography photography, and travel values values, and photography photography, and values non-USA photography, and photography non-USA, and photography photography, and art art, and photography photography Garlick, Steve Revealing The Unseen: Tourism, Art and Photography 16400 Garrett, A. E. The Advance of Photography: Its History and Modern Applications London Kegan Paul, Trench, Trûbner & Co., Ltd.
1911
This 375-page book begins by providing a historical survey of photography up through the early 20th century.
Chapter 14, "Photo-Telegraphy," (360-67) discusses three methods of sending photographs over electrical wires (telegraph or telephone). One is the methods devised by Arthur Korn in Berlin. (360-62). It took about ten to twelve minutes to send a picture by this method (362). The example given is a picture somewhat blurry. A second method which involved a carbon process was known as the Belin's method (362-64). It provided a sharper picture that possible with the Korn method as the lines were closer together. However, the transmission time was much longer -- twenty-two minutes to send a picture. (364) A third method was more commonly used by British papers. (364-67) This "third methods, which is due to Mr Thorne Baker of the Daily Mirror, is one which, owing to its simplicity and dispatch, is likely to come to the front. It is known by the name of the Telectograph process, and has been in use since July 1909, for transmitting pictures from Manchester to London, and also from Paris to London." (364) This process was also cheaper. "The telephone lines need then only be held until the operation of receiving the picture is completed," this book explains, "when the telectograph method is employed, so the expense incurred by holding the lines until the photograph has been developed is avoided." (366)
Other topics covered in this work's 15 chapters include: "Animated Photography," "Röntgen-Ray Photography," "Lenses," "Art in Photography," "Photography in Natural Colours," "Book Illustrations" (and there are color plates illustrating this field), "Astronomical Photography," and "Micro-Photography and Projection Apparatus." objectivity Lippmann process journalism illustrations magazines, and photography magazines photography color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication color, and Lumiere process color, and Lippmann process Lippmann process, and color Lumiere process, and color color, and chromoscope illustrations illustrations, and color photography cameras cameras, and lenses photography, and objectivity objectivity, and photography cameras cameras, and lenses Autochrome, and color photography color, and Autochrome non-USA Great Britain Great Britain, and photography photography, and Great Britain telegraph telegraph, and photography photography, and telegraph telephones, and photography photography, and telephone electricity electricity, and photography photography, and electricity Korn, Arthur, and telephotograph seeing at a distance modernity modernity, and photography photography, and modernity photography, and Belin's method photography, and telectograph process telectograph process, and photography telectograph process, and newspapers newspapers, and telectograph process microphotography photography, and microscope photography, and microphotography photography, and X-rays photography, and Rontgen-ray motion pictures motion pictures, and photography photography, and motion pictures news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines motion pictures, and journalism photography, and telescopes photography, and astronomy books, periodicals, newspapers books, and photography photography, and books books telephones Garrett, A. E. The Advance of Photography: Its History and Modern Applications 5880 Garrett, Gerald The Early History of Radio: From Faraday to Marconi London Institute of Electrical Engineers
1994
radio wireless communication Marconi, Guglielmo Faraday, Michael Garrett, Gerald The Early History of Radio: From Faraday to Marconi 3130 Garrett, John and Geoff Wright Micro is Beautiful Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
488-96 This piece originally appeared in the British alternative technology magazine Undercurrents (No. 27, 1978). The editor of the volume (Forester) says the authors represent a "romantic" school, "yet they say the romantics of the radical technology movement have concentrated too much on windmills and solar panels and have ignored other technologies with an equally liberating potential -- like microelectronics. The new telecommunication technology, they argue, makes possible a decentralized, self-managed anarchist utopia." computers nationalism communication revolution second industrial revolution communication revolution future and science fiction non-USA microelectronics computers and the Internet computers and society utopianism future microelectronics revolution microelectronics revolution, and decentralization nationalism and communication Great Britain Luddism microelectronics revolution, and government computers miniaturization nationalism, and microelectronics Garrett, John and Geoff Wright Micro is Beautiful 620 Gartenberg, Jon Camera Movement in Edison and Biograph Films, 1900-1906 Cinema Journal
Spring 1980
19 2 1-16 The author explains the scope of his article: "This paper was written for the Brighton project. For it I screened all of the Edison films and part of the Biographs (which were much larger in quantity) available. Thus, in what follows there is perhaps more attention to the development at Edison, and future work should fill in the developments at Biograph in more detail." (1) The article revises a "common misconception that the only great development during 1900-1906 period was editing, and that the few camera pans that occurred were novelties and random gestures without significance with the structure of the film." Gartenberg argues that "panning was a convention in this 1900-1906 period as an historical development in its own right, and that it frequently served as an alternative to editing." (15)
Between 1900 and 1906, moviemakers at Biograph and Edison used camera movement -- panning, use of the dolly (e.g., for close-ups of faces, and to give depth), panoramas (6-8), in addition to editing techniques. Cameras were sometimes mounted on tops of trains (8). Gartenberg writes that "Camera movement wass evident in films as early as 1900, was employed with increasing frequency and innovation during the ensuing years, and by 1906 had established itself as a basic filmmaking device of the Ameri- 1/2 can cinema (often integrated with editing, as in the chase film). This paper will provide a beginning step in our understanding of the use of this technique in the early history of the American cinema." (1-2) As moving pictures were filmed increasingly out-of-doors, camera movement was used more frequently. (2)
Gartenberg notes that the close up was used in moving pictures as early as 1900. "While the Edison Company was using editing to arrive at a closer view, Biograph's means of achieving the same results was a fascinating alternative manner. At Biograph, many productions in 1903 were still being shot indoors with the same subjects and themes as in the 1900 and 1902 films. A film that begins like the earlier ones is Hooligan in Jail (Biograph, September 25, 1903). A prisoner is seated at a table in a long view of the interior of a prison cell. The guard enters the room, and leaves his food. Then a fascinating changes takes place. As the prisoner sits eating and grimacing the camera dollies in order to get a closer view of his facial expressions. What a novelty this must have been for the viewing public, and how dynamic the camera movement appears today when seen in the chronological context of the other static films! The dolly ends precisely at the point where the camera can capture in close-up the facial gestures of the performer, tightly framing his face. Great attention was apparently given to the point where the dolly ends. This close-up view has precedents in films such as A Dull Razor (Edison, February 28, 1900) and Facial Expressions (Edison, January 27, 1902), in which the camera is placed at a relatively close view to record the detailed facial gestures of the characters. The dolly that is used is Holligan in Jail recurs in only two other films of the period. A Subject of the Rogue's Gallery (Biograph, January 13, 1904) and Photographing a Femal Crook 3/4 (Biograph, January 13, 1904). Surprisingly, this device was not further developed during this 1900-1906 period at Biograph, nor at Edison; it remained a dynamic, innovative technique, rather than developing as an alternative to editing." (3-4) Such techniques created "a sense of depth in the image." (4)
The author discusses several films that recreated the Boer War (4-5). He also covers the increasing use of panning and panorama films. Panning was used more frequently by 1906. (12)
Gartenberg concludes that "it is difficult to rigidly categorize camera movement in this 1900-1906 period because, for a given year, exceptions can always be found to general developments." (13) But by 1906, camera movement "fully integrated into the narrative" of moving pictures. (13) He also notes that significant changes in editing occurred during this period (14-15) He notes that "the most significant advance in camera movement beginning in 1907 is the appearance of panning in interiors." (15) fame fame celebrity actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space cameras cameras, and movement cameras, and portability motion pictures, and movement Edison, Thomas, Edison, Thomas, and motion pictures motion pictures, and Thomas Edison motion pictures, silent Biograph, and motion pictures motion pictures, and Biograph motion pictures, and close ups cameras cameras, and close ups acting, and close ups motion pictures, and close ups (origins) close ups, and motion pictures acting, and facial expression motion pictures, and facial expressions actors, and facial expression motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars war war, and motion pictures motion pictures, and Boer War Griffith, D. W. Griffith, D. W., and panorama films motion pictures, and panning cameras, and panning cameras, and dollies motion pictures, and panorama cameras, and panorama Gartenberg, Jon Camera Movement in Edison and Biograph Films, 1900-1906 34430 Garvey, Ellen Gruber Scissorizing and Scrapbooks: Nineteenth-Century Reading, Remaking, and Recirculating Lisa Gitelman and Geoffrey B. Pingree, eds. New Media, 1740-1915 Cambridge, MA MIT Press
2003
207-27 The author writes that "as literary critics have long noted, authors inevitably leave a surplus of meaning, sometimes obvious as ambiguity, which readers maneuver within, or scoop up, glean, and reuse. And just as authors cannot nail meaning to a fixed spot, neither can they or their publishers control the circulation and ordering or reordering of meaning. Even when copyright locks down the right to reproduce texts, readers have the option of moving those old texts to new contexts, creating a new tier of private circulation: clipping texts our of newspapers, pasting them into scrapbooks, or today onto Web pages, and circulating this new compiled version. Nineteenth-century scrapbook makers were part of an elaborate circuit of recirculation, one that trespassed or found easements across the enclosure of authorship and publication." (208)
Garvey's essay appears in a volume that is part of a larger series on new media technologies entitled Media In Transition. This volume offers a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. These ten essays examine media that were new in the eighteenth, nineteenth, and early twentieth centuries. They explore "moments of transition when each new medium was not yet fully defined, its significance in flux...." They attempt to put these media into their "specific material and historical environment" and explain the "ways in which habits and structures of communication are naturalized or normalized." (viii) computers books, periodicals, newspapers audiences reading print culture print culture, and scrapbooks newspapers, and reading reading, and newspapers reading, and scrapbooks audiences, and scrapbooks copyright copyright, and scrapbooks Internet, and scrapbooks computers and the Internet newspapers Internet news print news and journalism Garvey, Ellen Gruber Scissorizing and Scrapbooks: Nineteenth-Century Reading, Remaking, and Recirculating 23950 Gaughan, Norbert F. Statement, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" Committee on Governmental Affairs, United States Senate, Ninety-Ninth Congress, First Session Permanent Subcommittee on Investigations
(Oct. 24, 1985)
Oct. 24, 1985 141-47 Bishop Norbert F. Gaughan testified before a U. S. Senate subcommittee investigation the portrayal of substance abuse in motion pictures. He pointed to movies that treated drug use in a light or favorable manner. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings values Christianity Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) values archives government substance abuse drug abuse law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA Heffner, Richard motion pictures and popular culture motion pictures classification, and motion pictures motion pictures, and classification classification, and independent producers CARA, and Catholics rating system (U. S.) motion pictures, and Congress hearings Valenti, Jack, and Congress Heffner, Richard, and Congress rating system (U. S.), and drug abuse drug abuse, and rating system (U. S.) drug abuse, and classification Catholic Church rating system (U. S.), and Catholic Church hearings, and USCC hearings, and Catholic Church hearings, and drug abuse CARA, and appeals process television television, and rating system (U. S.) television, and drug use United States Catholic Conference (USCC) USCC critics values Gaughan, Norbert F. Statement, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" 13010 Gavin, Thomas F. S. J. Champion of Youth: A Dynamic Story of a Dynamic Man, Daniel A. Lord, S. J. Boston Daughters of St. Paul
1977
This work is a laudatory biography of Daniel A. Lord, the primary architect of the motion picture industry's Production Code, adopted in 1930. Lord, who taught at St. Louis University, was also a prolific writer. This work discusses Lord's role in Pope Pius XI's 1936 encyclical on motion picture entertainment. self-regulation Production Code values Christianity Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories values censorship and ratings Production Code (motion pictures) Pope Pius XI motion pictures values religion non-USA biography Lord, Daniel A. Production Code (motion pictures) Catholic Church Pope Pius XI, and 1936 encyclical Lord, Daniel A., and Pope Pius XI Pope Pius XI, and motion pictures motion pictures, and Pope Pius XI Pope Pius XI, and Daniel Lord critics values Gavin, Thomas F. S. J. Champion of Youth: A Dynamic Story of a Dynamic Man, Daniel A. Lord, S. J. 10960 Geiger, Robert L. Research and Relevant Knowledge: American Research Universities since World War II New York Oxford University Press
1993
This book, and the author's earlier work, To Advance Knowledge: The Growth of American Research Universities, 1900-1940 (Oxford University Press, 1986) provide a history of research universities in the United States and their sources of support. While research in communication technology is not the focus of the author's work, his research does provide context for developments in this area. R & D nationalism World War II research and development war war science research and development research and development, and government support scientific research, and government support nationalism and communication nationalism, and research and development military communication military-industrial complex military, and research and development military, and universities World War II, and research and development Geiger, Robert L. Research and Relevant Knowledge: American Research Universities since World War II 10950 Geiger, Robert L. To Advance Knowledge: The Growth of American Research Universities, 1900-1940 New York Oxford University Press
1986
This book, and the author's subsequent work, Research and Relevant Knowledge: American Research Universities since World War II (Oxford University Press, 1993) provide a history of research universities in the United States and their sources of support. While research in communication technology is not the focus of the author's work, his research does provide context for developments in this area. R & D nationalism research and development war military communication government science research and development research and development, and government support scientific research, and government support nationalism, and research and development nationalism and communication military, and universities government, and universities Geiger, Robert L. To Advance Knowledge: The Growth of American Research Universities, 1900-1940 5470 Gelatt, Roland The Fabulous Phonograph: From Tin Foil to High Fidelity Philadelphia J. B. Lippincott Company
1955
Roland Gelatt’s work is a detailed and comprehensive history of the phonograph and records industry, from Edison’s first invention of a cylindrical apparatus with a stylus and tin foil sheets recording and reproducing sounds. The technology evolved along with the many proposed uses, from office dictation and voice recordings to, eventually, operatic and symphonic vocals and music. Gelatt calls the phonograph an invention, an industry and a musical instrument.
The book recounts early technological developments and patents of various types of talking machines and phonographs. Inventors and distributors had different views of the phonograph that were often laced with tradition. Edison saw it as an office machine; others such as the Victor and Columbia phonograph and records sales firms, boasted of partial operatic recordings of sketchy comparison to the concert hall that in time were transformed into double-sided 78 rpm packages of full-length works that sounded just like the original performances and, at the time of the book’s publication, 33 1/3 LP albums. Conductors and artists persevered through the early days of numerous delays producing four-minute segments and playing individual parts into a horn to get the best sound possible with the limitations of recording in the early 20th century.
Gelatt’s history includes marketing of phonographs and recording products in America and Europe. American companies had European branches that were sometimes able to sell more products for a particular genre such as opera than their American parents. Opera was the staple at first because it could be reproduced more effectively. But as engineers developed the disc technology from thick wax discs to unbreakable records with a shellac gloss and microphone recordings that allowed the buying public to listen to whatever it wanted. Prices and content varied because of intense competition for artists coupled with changes in disc technology and consumer demand.
The most enjoyment for me came from tracing the development of phonographs and production of records with different labels because of my own familiarity with RCA Victor and “His Master’s Voice,” Red Seal and Okeh labels, one-sided and two-sided 78s and the orchestras and conductors who made recordings right up to 1955. I own a one-sided Columbia record of the William Tell Overture where the solo artist plays a xylophone rendition and several 78 rpm packages including Sir Thomas Beecham conducting Mozart’s Jupiter Symphony. My 75th anniversary album of the Boston Symphony Orchestra includes Karl Muck’s finale of Tchaikovsky’s Fourth Symphony and an interview with a member recalling the task of blowing his part into a horn and running back to join the orchestra. It’s wonderful that Gelatt could do a thorough history of a medium still was evolving at the time of publication. He touches on the development of radio and magnetic tape that threatened to compete with the phonograph. An updated edition including cassettes, 8-tracks, music videos and CDs would be welcome, if someone would write it.
-Steven Dean Schmitt

The author claims that this is the “first comprehensive history of the phonograph.” Gelatt provides a solid narrative and a useful timeline. Chapter 17 deals with the impact of the microphone.
 entertainment entertainment, home References, Statistics, Timelines, Maps labor home entertainment home, and new media home timelines sound recording office, and information technology home, and information technology public address systems information technology sound recording phonograph microphones timelines, and sound recording information technology, and home information technology, and office office, and phonograph timelines office Schmitt, Steven Dean Gelatt, Roland The Fabulous Phonograph: From Tin Foil to High Fidelity 40930 Genné, Beth Vincente Minnelli's Style in Microcosm: The Establishing Sequnce of 'Meet Me in St. Louis' Art Journal
Autumn, 1983
43 3 247-54 This article discusses Vincente Minnelli's work on the film Meet Me in St. Louis (1944) and covers scene sequence (248ff), camera movement (251), decor and frame compositions (251-52), lighting (252-53), and use of color (253). The author notes that "Minnelli's color effects were not achieved without a struggle. With the backing of [Arthur] Freed, the director 'revolutionized' -- to use his expression -- the art department at MGM, demanding from his set and costume designers an unprecedented range and variety of colors. In an audaciou move, especially so for a new director on his first color film, Minnelli also dispensed with the services of Natalie Kalmus, the wife of the co-inventor of Technicolor, who, in accordance with the Technicolor licensing agreement, had to be the color advisor on every MGM film that used the process. Minnelli thought that Kalmus had only a limited idea of the potential range of the process, so, although her name is listed on the credits, her advice was not taken into account in determining the color scheme of the film." (253) Kalmus, Herbert censorship censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and novelty motion pictures, and Vincente Minnelli cameras, and motion pictures motion pictures, and cameras lighting motion pictures, and lighting lighting, and motion pictures color, and Vincente Minnelli Genné, Beth Vincente Minnelli's Style in Microcosm: The Establishing Sequnce of 'Meet Me in St. Louis' 170 George, Susan A. Not Exactly 'of Woman Born': Procreation and Creation in Recent Science Fiction Films Journal of Popular Film & Television
Winter, 2001
28 4 177-83 See filed under Film & Television articles (2001). This article is part of an entire issue is devoted to "Film and/as Technology." Telotte, who is guest editor, notes that enjoying such technologies such as film we enter into an "unspoken" arrangement with that technology. Film's technological underpinning often go unexamined. This raises important issues "especially to the impact of digital technology and its capacity to reproduce convincingly practically any image."
Articles in this issue include: David Lavery, "From Cinescape to Cyberspace: Zionists and Agents, Realists and Gamers in The Matrix and eXistenZ"; J. Robert Craig, "Establishing New Boundaries for Special Effects: Robert Zemeckis's Contact and Computer-Generated Imagery"; Kelly Ritter, "Spectacle at the Disco: Boogie Nights, Soundtrack, and the New American Musical"; Susan A. George, "Not Exactly 'of Woman Born': Procreation and Creation in Recent Science Fiction Films"; and J. P. Telotte, "The Sounds of Blackmail: Hitchcock and Sound Aesthetic." computers science special effects new media motion pictures future and science fiction digital media digitization computers motion pictures and popular culture motion pictures, and new technology new media, and motion pictures motion pictures, and digital media digital media, and motion pictures motion pictures, and digital effects digital effects, and motion pictures virtual reality motion pictures, and special effects special effects, and motion pictures computers and the Internet computers, and special effects special effects, and computers science fiction future, and motion pictures motion pictures, and science fiction future George, Susan A. Not Exactly 'of Woman Born': Procreation and Creation in Recent Science Fiction Films 30360 Gerard, Edmund Bert The Truth About Cinema Verite American Cinematographer
May, 1969
50 5 474, 502 The author writes: "It is only during a public event that is in progress, in which participants are so absorbed in their activities that the presence of a camera crew is just that of another spectator -- that the changes are good that a 'true' occurrence can be filmed -- as on any news story assignment." (474) cinematography cinéma vérité motion pictures cameras documentary films motion pictures, and documentaries lighting lighting, and 16mm cameras lighting, and portable cameras sound recording news and journalism television television, and cinéma vérité television news, and cinéma vérité newsreels documentaries news Gerard, Edmund Bert The Truth About Cinema Verite 27100 Gerbner, George The Hidden Message in Anti-Violence Public Service Announcements Harvard Educational Review
Summer, 1995
65 2 292-98 See also: violence See also: sexuality Gerbner studied public service announcements produced by HBO/Time Warner. These eight public service announcements dealt with urban violence and reflected high production standards. Nevertheless, when one considers the situation that were depicted, and the age, race, and gender of the characters involved, the announcements had hidden messages of stereotyped violence. classification self-regulation Federal Trade Commission (FTC) CARA advertising, and public relations censorship and ratings propaganda public relations motion pictures media effects media violence violence FTC cyberspace culture censorship and rating system (U.S.) children law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures, and children children, and media children, and violence motion pictures, and violence advertising advertising, and motion pictures advertising, and children advertising, and movie violence media effects FTC, and motion pictures motion pictures, and FTC video games video games, and children children, and video games rating system (U. S.), and controversies video games rating system (U. S.), and children children, and music rating system (U. S.) violence, and motion pictures violence, and video games violence, and children violence, and music television television, and violence culture imperialism, and violence violence, and cultural imperialism Gerbner, George The Hidden Message in Anti-Violence Public Service Announcements 6820 Gernsback, Hugo Radio in 1945 Radio News
July 1920
2 5 television, and history of radio television television, and origins? seeing at a distance Gernsback, Hugo Radio in 1945 6840 Gernsback, Hugo Radio Vision Radio News
Dec. 1923
5 681 television, and history of radio television television, and origins seeing at a distance Gernsback, Hugo Radio Vision 6830 Gernsback, Hugo The Radiophot. Television by Radio Science and Invention
July 1922
10 234-35 television, and history of radio television television, and origins seeing at a distance Gernsback, Hugo The Radiophot. Television by Radio 6850 Gernsback, Hugo Television and the Telephot Electrical Experimenter
May 1918
6 12-13 See also author's article in Electrical Experimenter, 6 (June, 1918), 95-96. television, and history of television television, and origins seeing at a distance Gernsback, Hugo Television and the Telephot 9760 Gernsheim, Helmut A Concise History of Photography New York Grossett & Dunlop
1965
This work gives a solid introduction to the history of photography. Among the topics discussed are the camera obscura, early attempts to capture images by such people as Thomas Wedgewood and Nicephore Niepce, Louis Daguerre and daguerreotypes, William Talbot, the collodion process, dry plate photography, film and photography, roll-film cameras, and more. photography materials collodion photography and visual communication Eastman, George, and cameras photography, and wet collodion process Talbot, William Fox daguerreotype Daguerre, Louis heliography Niepce, Joseph Nicephore Wedgewood, Thomas camera obscura photography, and history of cameras Eastman, George photography, dry plate photography, and film cameras, roll-film materials Eastman, George Gernsheim, Helmut A Concise History of Photography 39020 Gernsheim, Helmut Creative Photography: Aesthetic Trends 1839-1960 London Fabor and Faber Limited
1962
The 21 chapters in this book cover several topics including "Immortal Portraits," "The Photographer as Stage Manager," "'Fine Art' Photography," "The Nude before the Camera," "Reportage and Documentation," "Push-Button Photography," and other themes such as naturalistic and impressionistic photography, "The New Objectivity," and "The Influence of Surrealism."
Gernsheim notes that some photographs of nudes in the 19th century equaled the best paintings but that photographs of nudes encountered more trouble from such groups as the Society for the Suppression of Vice than did paintings. (100) The author quotes Bernard Shaw on nudity and photography: "'The camera can represent flesh so superbly that if I dared, I would never photograph a figure without asking that figure to take its clothes off.... It is monstrous that custom should force us to display our faces ostentatiously, however worn and wrinkled and mean they may be, whilst carefully concealing all our other parts, however shapely and well preserved....'" (Shaw quoted, 101) He also quotes Shaw's famous remark: "'The photographer is like the cod, which produces a million eggs in order that one may reach maturity'...." (Shaw quoted, 116)
Gernsheim points out that Thomas Annan took photographs of Glasgow slums between 1868 and 1877, in some way anticipating Jacob Riis's later photographs in "How the Other Half Lives." (108-10) He also notes that although "Photo-interviews with celebrities are ... very much a feature of modern newspapers," this trend started much earlier. "Few people are aware that the first one took place as long ago as 1886 when Nadar interviewed the great scientist M. E. Chevreul on the even of his hundredth birthday. A good beginning to the conversation was the centenarian's opening remark: 'I was an enemy of photography until my ninety-seventh year, but three years ago I capitulated.'..." (112) Gernsheim says that W. B. Northrop in With Pen and Camera: Interviews with Celebrities (London), published "a remarkable book of illustrated interviews with celebrities ... in 1904." (114)
This work (231-47) has short biographies of the photographers whose works are illustrated in this book. It also contains a brief section (248-51) describing the different photographic process discussed. objectivity photography materials collodion photography and visual communication photography, and wet collodion process Talbot, William Fox daguerreotype Daguerre, Louis heliography camera obscura photography, and history of cameras Eastman, George photography, dry plate photography, and film cameras, roll-film materials non-USA Great Britain photography, and non-USA photography, and Great Britain Great Britain, and photography non-USA, and photography biography biography, and photographers photography, and biography photography, and processes lithography photography, and art photography, and amateurs sexuality sexuality, and photography photography, and sexuality photography, and nudity nudity, and photography objectivity, and photography photography, and objectivity photography, and impressionism impressionism, and photography photography, and surrealism photography, and Society for Suppression of Vice Riis, Jacob photography, and celebrity culture celebrity culture, and photography celebrity culture, and origins celebrity nudity Gernsheim, Helmut Creative Photography: Aesthetic Trends 1839-1960 8760 Gibbons, John H. The New Frontier: Space Science and Technology in the Next Millennium [Washington, D. C.?] [National Science and Technology Council?]
March 22, 1995
These are remarks by Dr. John H. Gibbons, Assistant to the President for Science and Technology, National Air and Space Museum, Smithsonian Institution, Washington, D.C., delivered March 22, 1995.
Gibbons gives four reasons why we should pursue space science: 1) it has practical applications that are essential to our lives; 2) it can make us “better stewards of our planet”; 3) it gives us “phenomenal insights into the nature of the Universe”; and 4) “cooperation in space offers us a new vision of global cooperation.”
Gibbons provides an interesting quotation from Apollo 8 astronaut Bill Anders, upon his first view of earth from space: “Looking at the Earth and seeing it floating like -- I thought, since it was Christmas time -- a little Christmas tree ornament against an infinite black backdrop of space ... it seemed so very finite. It was this view of the fragility and finiteness of the Earth that is the impression, frankly, that I hold more in my head than any other.”
 technology remote sensing Office of Technology Assessment (OTA) space communication aeronautics and space communication space science satellites remotely sensed data environment, and space science environment addresses technology and society OTA rocketry Gibbons, John H. The New Frontier: Space Science and Technology in the Next Millennium 12700 Gibbons, John H. This Gifted Age: Science and Technology at the Millennium Woodbury, NY American Institute of Physics
1997
Gibbons was Assistant to President Clinton for Science and Technology, and former head of the Office of Technology Assessment. Gibbons was a physicist by training who earlier worked at the Oak Ridge National Laboratory in Tennessee. This volume is a collection of Gibbon’s speeches, articles, and essays between 1972 and 1997. Gibbons says that his “belief that technology and enlightened governance can transform the world for the betterment of all, especially future generations, should be apparent in these collected writings.”
This collection covers a wide range of technologies, some of which are related to communication. The work is divided into two parts. Part One covers 1972 to 1992 and entitled “Energy, Environment, Science, and Society.” Among the entries in this section are “The Federal Government’s Role in Advancing Technology,” and “Governing in a Technology-Driven Age: Progress and Problems.”
Part Two covers 1992 to 1997 and is entitled “Adviser to the President.” Among the entries here are “Biotechnology: Opportunity and Challenge,” “National Security Writ Large: A New Role for Science and Technology in a Changing World,” “National Information Infrastructure,” and “The New Frontier: Space Science and Technology in the Next Millennium.”
Then Vice President Al Gore wrote the Foreword for this volume. R & D computers Office of Technology Assessment (OTA) nationalism Clinton, William Jefferson military communication presidents, and new media values progress future and science fiction computers Clinton Administration Gore, Al government Clinton administration, and technology Clinton, Bill, and new media Gore, Al, and new media National Information Infrastructure (NII) research and development computers and the Internet nationalism and communication nationalism, and new media nationalism, and computers OTA government, and research and development progress, and technology aeronautics and space communication satellites computers, high performance artificial intelligence and biotechnology future, and new technology future Clinton, Bill Gibbons, John H. This Gifted Age: Science and Technology at the Millennium 38780 Gibson, S. M. The Amateur and His Camera Frank Leslie's Popular Monthly
Jan. 1891
31 4-13 This article begins by quoting an unindentified amateur photographer saying: "'A photographic apparatus, with its delightful allurements, is a more valuable possession than Aladdin's lamp.'" (4) It notes that the "total membership of the Society of Amateur Photographers is 255," (5) and that Frank Leslie's Illustrated Newspaper announced a contest for amateur photographers. (11) journalism photography and visual communication photography, and art photography, and amateurs Aladdin, and amateur photography metaphors metaphors, and Aladdin newspapers, and photographs photographs, and Frank Leslie's Illustrated Newspaper news and journalism journalism, and photography photography photography, and Aladdin's lamp Gibson, S. M. The Amateur and His Camera 9770 Gidal, Tim Modern Photojournalism: Origin and Evolution, 1910-1933 New York Macmillan
1973
Modern photojournalism began in Germany, and Gidal maintains that he was part of its creation. “Modern photojournalism began in full force in Germany in 1928 and 1929, although its visible harbingers can be established a few years earlier. It reached fruition in 1933 and 1934, above all in Germany. Subsequently it expanded and joined up with its most important representatives in Paris, Amsterdam, London, and New York–in flight from the psychological repression and physical persecution in Nazi Germany.” journalism photography news and journalism news news and journalism books, periodicals, newspapers news and journalism cinema motion pictures celluloid news and journalism non-USA motion pictures magazines Germany photography and visual communication photojournalism cameras photography, and Germany Germany, and photojournalism motion pictures, and 32mm film film, 32-mm magazines, and photojournalism books, periodicals, newspapers film magazines, and photography news, and photography journalism, and photography Germany photojournalism, and origins journalism materials Gidal, Tim Modern Photojournalism: Origin and Evolution, 1910-1933 530 Giedion, Siegfried Mechanization Takes Command: a contribution to anonymous history [sic] New York Oxford University Press
1948, 1970
This 723-page work offers context for communication media. Parts I and II (“Anonymous History” and “Springs of Mechanization”), give an extended outline of the book. Part VI (“Mechanization Encounters the Household”) talks about innovations in electrical power and how they affected cooking, vacuum cleaning, refrigeration, and more during the 1940s. home entertainment entertainment, home home entertainment home, and new media home home, and information technology information technology general studies information technology and home electricity electricity, and home home, and electricity Giedion, Siegfried Mechanization Takes Command: a contribution to anonymous history [sic] 3250 Gilbert, Kathy and Joan Schleuder Effects of Color and Complexity in Still Photographs on Mental Effort and Memory Journalism Quarterly
Winter 1990
67 4 749-56 See also: violence See also: sexuality The authors report that "experimental findings suggest that exposure to images with color or complex elements results in different viewer responses in than black and white or simple images. Study images were taken from popular magazines. Experimental subjects did find it easier to remember images with color and -- opposite to general lore -- more complex elements. Contrary to one study hypothesis, complexity did not result in more (reported) mental effort." photography motion pictures media effects media violence news and journalism books, periodicals, newspapers magazines journalism news and journalism motion pictures and popular culture photography and visual communication photography photography, and color photography, and newspapers newspapers, and photography newspapers, and color photography color color, and photography media effects media effects, and color photography media effects, and color violence violence, and color photography photography, and violence magazines, and color color, and magazines newspapers news newspapers Gilbert, Kathy and Joan Schleuder Effects of Color and Complexity in Still Photographs on Mental Effort and Memory 37270 Gilbo, W. H. The Rotogravure Process: Comments on the Recent Art Supplements of The Times [letter to editor] New York Times
April 16, 1914
8 In this letter to the editor of the New York Times, W. H. Gilbo, who claims to be "the pioneer of photogravure" and "experienced ... in the specialty of light and shade in monochrome reproductions" in the United States, seeks to clarify misconceptions about the process. He is impress by the newer rotogravure process. "The delicacy of modeling in the light and middle tints of most of them is truly admirable, while the range of details in the darks, (in the Gethsemane, for instance), their transparency and richness, surpass anything yet done, to my knowledge, by any photo-mechanical process in one printing, excepting photogravure; infinitely superior to the usual rotary press productions which are presented under the falsely assumed name of photogravures. (emphasis added)
"The Times's rotogravure process is truly a wonderful advance in newspaper publishing, a surprising step into the realm of real art, and of extended educational value." rotogravure journalism magazines, and photography magazines photography modernity modernity, and photography photography, and modernity new way of seeing history and new media photography, and rotogravure process rotogravure process rotogravure process, and photography rotogravure process, and newspapers newspapers, and rotogravure process journalism, and rotogravure process rotogravure process, and journalism photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography photography, and half tones half tones half tones, and newspapers newspapers, and half tones advertising and public relations newspapers, and advertising advertising, and newspapers photography, and advertising advertising, and photography magazines, and photography photography, and magazines photography, and high speed newspapers, and presses duplicating technologies color color, and rotogravure process rotogravure process, and color color, and newspapers newspapers, and color rotogravure process (origins) duplicating technologies, and color color, and duplicating technologies rotogravure process vs. photogravure process photogravure process vs. rotogravure process photography, and photogravure process photogravure process, and newspapers advertising history Gilbo, W. H. The Rotogravure Process: Comments on the Recent Art Supplements of The Times [letter to editor] 8840 Gilder, George Microcosm: The Quantum Revolution in Economics and Technology New York Simon and Schuster
1989
Portions of this book offer an accessible explanation of the often counterintuitive world of miniaturization, and how this is bringing a revolution in communication and economics. Gilder says that in "an age when men can inscribe new worlds on grains of sand, particular territories are fast losing economic significance." (355) computers microprocessing transistors, and integrated circuits quantum physics communication revolution second industrial revolution communication revolution capitalism microelectronics computers and the Internet miniaturization microelectronics revolution transistors integrated circuits microprocessors quantum physics, and communication capitalism, and microelectronics revolution capitalism capitalism, and new media capitalism, and computers materials Gilder, George Microcosm: The Quantum Revolution in Economics and Technology 37020 Gilfillan, S. C. The Future Home Theater The Independent
Oct. 17, 1912
73 3333 886-91 S. C. Gilfillan discusses, the editor explains, "primitive home theater, which combines the kinetoscope, phonograph and telephone, and promises to be of very great value in large halls."
The author, Gilfillan, begins by saying that "There are two mechanical contrivances, one now taking its first unsteady steps in the commercial world, the other still in inventors' laboratories, each of which bears in itself the power to revolutionize entertainment, doing for it what the printing press did for books. They are the talking motion picture and the electric vision apparatus with telephone. Either one will enable millions of people to see and hear the same performance simultaneously, by the 'seeing telephone' and the telephone, or successively from kinetoscope and phonographic records of it, with the result that a matchless production may be attended for almost nothing. Furthermore (if we may use a dogmatic style, but offering proof), these inventions will become cheap enough to be, like the country telephone, in every home, so that one can go to the theater without leaving the sitting room. From this fact we may call both devices the home theater.
"One of them bears entertainment into the home by the telephone wires. To witness a play, speech, lecture, music or dance one will simply throw a switch or two and the voices will be heard, while a picture in motion, naturally colored and apparently three dimensional, will be projected on a wall of the room.. A view of moving objects has already been telegraphed by Professor Rösing, of St. Petersburg, and by a number of other inventors, but their apparatus is not yet perfected. The other home theater, the combined phonograph and kinetoscope, is now in commercial use. To come into our homes it needs only to have its reproducing apparatus cheapened; the records can be borrowed from a library. Or, still more conveniently, it can be combined with the electric home theater, so that a person wishing to see a certain production may simply telephone the library to play their records of it into his wires." (886)
The article notes that home theater had long been a dream of such writers as Edward Bellamy, H. G. Wells, and others. The article predicts that the "screen of the future home theater will not have the flat, flickering, black and white pictures of today, but scenes like those in the ground-glass plate of a camera, fresh and bright with blue sky and green foliage, or the tints of a close-by face. And by stereoscopy the scenes will be more yet -- three dimensional, not flat pictures, but vistas of reality. To this add music or the natural voices, and you have the home theater of 1930, oh ye of little faith! It is just as certain that the home theater will be improved as it is that color printing has been improved." (886)
The article mentions that microphones will amplify sound. It discusses actress Florence Turner acting before cameras and very few people but at the same realizing that "she was playing to million all over the world." (887) It notes that two French companies are "producing these 'film parlants'" and Thomas Edison "has brought ot his school kineoscopes."
Gilfillan says that the drama of 1930 will have more scenes. "The old motion picture shows," he notes" had an average length of scene of about fifty seconds." (889) Such changes will make "drama more perfectly bendable to teaching and entertainment." (889)
The article comments on this form of entertainment and its presentation of time and history. "The peculiar ability of the disk and film theater is to preserve, to halt time. We shall see the actors of the past play again, dead orators will speak, the Panama Canal can be reopened. Independence of time again enables it to represent the supernatural, by merely concealing an interval, as when in moving pictures we see a man vanish into the air. And by doctoring films centaurs, elves, earthquakes, murder, everything to be seen on canvas or in joke books will become the material of the playwright." (887)
The article predicts improved lighting to "see" in twilight and in moonlight. "But instantaneity is a recommendation, also. By the electric theater a whole nation will be able actually to see an inauguration, a launching, a ball game, or a first performance. It will not seem a mechanical device, but a window or a pair of magic opera glasses thru which one will watch the actors or doers." (my emphasis)
Much of this article assumes that future home entertainment will be devoted to opera, classical music, and great literature, lectures, and plays. "Home theater art will be better than any to-day. For not only will the bad and mediocre artists be massacred in their thousands and the great heaped with honor and riches, but the great will be introduced to a new competition, that with the great dead." (890)
This article discusses the power of home theater to preserve democracy and the home. It asks "What will happen to our political forms when a candidate must appeal directly to all the electorate, revealing his personality 890/891 by his close range appearance and normal voice? Will representative government survive this nation-wide extension of the neighborhood in which a man can be known?" (890-91)
The article goes on to argue that "The home theater, in contrast to most modern developments, will tend powerfully to preserve the home, as the newspaper has by superseding the Athenian barber shop, the Roman forum and the Queen Anne coffee house. And to those who live in small towns and the country the home theater will be a minister of life." (891)
Gilfillan says that a form of the electric theater, called Telephone Herald, has been in operation in Budapest for about 12 years. He was overly optimistic, however, when he predicted in 1912 that the electric theater would "be in the majority of homes" in the United States two decades. (891) nationalism home history fame celebrity actors acting photography home and new media future and science fiction motion pictures motion pictures, and home home, and motion pictures electricity electricity, and home entertainment home entertainment telephones electricity, and telephones telephones, and electricity color color, and home entertainment home entertainment, and color motion pictures, and 3-D 3-D, and home entertainment motion pictures, and printing press sound recording sound recording, and home entertainment home entertainment, and sound recording sound recording, and phonograph phonograph, and home entertainment future, and home entertainment France France, and home entertainment motion pictures, and French influence motion pictures, and French films in U.S. motion pictures, and lighting lighting, and motion pictures lighting, and home entertainment home entertainment, and lighting modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel history and new media motion pictures, and history history, and motion pictures electricity, and theaters theaters, and electricity kinetoscope motion pictures, and kinetoscope kinetoscope, and home entertainment home entertainment, and kinetoscope seeing at a distance microphones home entertainment, and microphones microphones, and home entertainment metaphors metaphors, and windows metaphors, and magic opera glasses motion pictures, and stars (origins) Turner, Florence, and movies stars motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality Edison, Thomas Edison, Thomas, and home entertainment nationalism and communication motion pictures, and nationalism nationalism, and motion pictures telephones, and home theater democracy democracy, and new media telephones, and seeing telephone education education, and motion pictures education, and home theater motion pictures, and education home entertainment, and education phonograph lighting 3-D future theaters Gilfillan, S. C. The Future Home Theater 39430 Gillies, John Wallace Principles of Pictorial Photography New York Falk Publishing Company, Inc.
1923
This work, which discusses pictorial photography, a term that was not much used before 1890, (63) comments on photographing nudes. "The study of the full figure is not quite so difficult but the nude figure is the hurdle over which many aspiring pictorialists have their tumbles. Many workers seem to have a mania for making pictures of the nude figure and few of the pictures are ever of any use pictorially, for various reasons. The draped, or partially draped, figure is far simpler to handle and when used in a woodland setting is very interesting, in most cases being used as a white spot which is placed at the pleasure of the worker and, when used in the middle ground of the picture, is far enough from the camera not to require great effort in posing." (124) photography and visual communication photography, pictorial sexuality sexuality, and photography photography, and sexuality photography, and nudity photography Gillies, John Wallace Principles of Pictorial Photography 22340 Gilmore, Donald H. Preface Earl Kemp, ed. Illustrated Presidential Report of the Commission on Obscenity and Pornography San Diego, CA Greenleaf Classics, Inc.
1970
8-9 See also: media See also: violence See also: sexuality The legalization of pornography in Denmark, Gilmore predicted, spelled “the doom of a multi-million dollar industry.” This short piece appeared in an unauthorized version -- with pictures -- of the 1970 Report of President's Commission on Obscenity and Pornography. illustrations sexuality motion pictures mass media media effects crime pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and supporters pornography, and crime crime, and pornography illustrations Gilmore, Donald H. Preface 33970 Gitelman, Lisa How Users Define New Media: A History of the Amusement Phonograph David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
61-79 Gitelman beings this piece by writing that "the production/ consumption dichotomy" that is often central to historical interpretations of new media and technology "harbors a particular determinism: within it lurks a tendency to use technology as a sufficient explanation of social and cultural change. It uts production first and has helped orient the history of technology away from the experience of any but white, middle-class men; rendering a history, according to one observer, in which 'inventing the telephone is manly; talking on it is womanly.' An unreflected reliance of the same dichotomy" has influenced much writing about the phonograph. Gitelman concludes that "Phonographs only 'worked' when they got women's voices right, just as home phonographs only 'worked' according to the ways they interlocked with existing tensions surrounding music and home, with ongoing constructions of shopping as something women do, and with the ways in which users of all sorts wanted, heard, and played recorded sounds." (75)
Gitelman's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. sound recording phonograph women women, and new media telephones history and new media Berliner, Emile advertising and public relations phonograph, and advertising advertising, and phonograph home and new media phonograph, and home home, and phonograph phonographs, and women women, and phonographs advertising history home Gitelman, Lisa How Users Define New Media: A History of the Amusement Phonograph 34410 Gitelman, Lisa Souvenir Foils: On the Status of Print at the Origin of Recorded Sound Lisa Gitelman and Geoffrey B. Pingree, eds. New Media, 1740-1915 Cambridge, MA MIT Press
2003
157-73 Gitelman examines the meaning of tinfoil records that accompanied early phonographs. "Aided by the surrounding publicity, tinfoil records offered a profound and self-conscious experience of what 'speaking' on paper might mean" in the late nineteenth century. (158) "Recorded sound eventually prospered, of course, but the newspapers of 1878 remain the best record of its public introduction. Into the circulation of the newsprint and the circuits of the American lyceum entered the touring phonograph exhibitors. With their own modest circuits of mail, of revenue, and of foil they immodestly boosted the phonograph in public, promoting it to, as well as via, newly recordable Americans." (170)
Gitelman's essay appears in a volume that is part of a larger series on new media technologies entitled Media In Transition. This volume offers a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. These ten essays examine media that were new in the eighteenth, nineteenth, and early twentieth centuries. They explore "moments of transition when each new medium was not yet fully defined, its significance in flux...." They attempt to put these media into their "specific material and historical environment" and explain the "ways in which habits and structures of communication are naturalized or normalized." (viii) sound recording print culture sound recording, and print media print, and sound recording phonograph Edison, Thomas phonograph, and Thomas Edison Edison, Thomas, and phonograph newspapers, and phonograph phonograph, and newspapers books, periodicals, newspapers home and new media advertising and public relations phonograph, and home home, and phonograph advertising, and phonograph phonograph, and advertising advertising newspapers home news print news and journalism Gitelman, Lisa Souvenir Foils: On the Status of Print at the Origin of Recorded Sound 33820 Gitelman, Lisa// Geoffrey B. Pingree New Media, 1740-1915 Cambridge, MA MIT Press
2003
This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. These ten essays examine media that were new in the eighteenth, nineteenth, and early twentieth centuries. The expore "momemts of transition when each new medium was not yet fully defined, its significance in flux...." They attempt to put these media into their "specific material and historical environment" and explain the "ways in which habits and structures of communication are naturalized or normalized." (viii)
Most of the writers in the volume are women scholars. Contents of this book include: What’s new about new media? / Geoffrey B. Pingree and Lisa Gitelman -- Zograscopes, virtual reality, and the mapping of polite society in eighteenth-century England / Erin C. Blake -- Heads of state: profiles and politics in Jeffersonian America / Wendy Bellion -- Children of media, children as media: optical telegraphs, Indian pupils, and Joseph Lancaster’s system for cultural replication / Patricia Crain -- Telegraphy’s corporeal fictions / Katherine Stubbs -- From phantom image to perfect vision: physiological optics, commercial photography, and the popularization of the stereoscope / Laura Burd Schiavo -- Sinful network or divine service: competing meanings of the telephone in Amish country / Diane Zimmerman Umble -- Souvenir foils: on the status of print at the origin of recorded sound / Lisa Gitelman -- R.L. Garner and the rise of the Edison phonograph in evolutionary philology / Gregory Radick -- Scissorizing and scrapbooks: nineteenth-century reading, remaking, and recirculating / Ellen Gruber Garvey -- Media on display: a telegraphic history of early American cinema / Paul Young.
Other books in this series include: Henry Jenkins and David Thorburn, eds., Democracy and New Media (2003); and David Thorburn and Henry Jenkins, Rethinking Media Change: The Aesthetics of Transition (2003) nationalism Great Britain non-USA photography phonograph sound recording Edison, Thomas telegraph motion pictures telegraph, and motion pictures motion pictures, and telegraph telegraph, optical optical telegraph Zograscopes books, periodicals, newspapers phonograph audiences, and new media telephones virtual reality cyberspace presidents and new media nationalism and communication Jefferson, Thomas, and new media Jefferson, Thomas women women, and new media audiences Gitelman, Lisa// Geoffrey B. Pingree New Media, 1740-1915 6860 Gitlin, Todd The Whole World Is Watching: mass media in the making & unmaking of the new left Berkeley University of California Press
1980
Gitlin gives a perceptive analysis of the relationship between television and the student left during the Vietnam War. Chapter 8, "Contracting Time and Eclipsing Context," is interesting on the ways in which television can distort events, extracting them from their historical settings and giving them new meanings. time and timekeeping Vietnam War time television, and war television, and values preservation journalism history, and new media news and journalism war history values geography news history television television, and Vietnam War television, and 1960s values, and television television, and news news, and television history, break with history, and television time space (spatial) television, and reform television, and student protest Vietnam War Vietnam War, and television Gitlin, Todd The Whole World Is Watching: mass media in the making & unmaking of the new left 3350 Giuliano, Vincent E. The Mechanization of Office Work Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
298-311 See also: office This article contends that the "office is the primary locus of information-handling, the activity that is coming to dominate the US economy." The author, then a consultant for Arthur D. Little, Inc., discusses the evolution of the office through its pre-industrial and industrial periods. The new information technology, he argues, can improve job satisfaction, replace paperwork, increase productivity, and better consumer service. This piece appeared first in Scientific American (Sept. 1982). computers labor future and science fiction capitalism office, and information technology information technology Information Age Industrial Revolution computers and the Internet computers and society information age office, history of information processing future computers office, and new media capitalism, and new media labor labor, and new media office Giuliano, Vincent E. The Mechanization of Office Work 810 Glass, Fred Labor and New Media Technology: A Union of Necessity Labor Studies Journal
Spring 1984
9 1 131-50 See also: office Glass examines the use of media technology by seven major labor unions in the early 1980s. The unions -- the ILGWU, IAM, UAW, AFSCME, CWA, AFT and USWA -- used media to communicate to union members and to deliver a general public relations message. Glass notes, for example, that the garment workers union used satellite teleconferencing to communicate with union members and reporters to deliver the union position on import quotas in 1983. As early as 1979, the machinists association used a satellite cablecast to distribute a program that included a film on plant closings and a live discussion by union leaders followed by phone-in questions by audience members. In addition, Glass also details the work of the then-new Labor Institute of Public Affairs, which was founded by the AFL-CIO to develop a coordinated national plan for the use of new communications technologies. Glass concludes that video, cable, and satellite technologies offered organized labor new opportunities to compete for public opinion. In addition, labor could integrate new media into its infrastructure to communicate for organizing, training, and general communications with members and the public. “From the 1920s to the mid 1970s the broadcast media era -- the means of communication were held hostage by the corporations,” Glass writes. “Today we have entered a new age.” satellites Glende, Phil labor labor, and new media aeronautics and space communication labor, and satellites satellites, and labor labor, and satellite teleconferencing television labor, and cable television television, and labor cable television, and labor labor, and video labor, and new media (1980s) cable Glass, Fred Labor and New Media Technology: A Union of Necessity 910 Glass, Fred A Locally Based Labor Media Strategy Labor Studies Journal
Winter 1989
14 4 3-17 See also: office Glass argues for the creation of regional media resource centers to provide local unions with sophisticated electronic communications capabilities. Glass briefly summarized the state of national use of media technology, including the work of the Labor Institute of Public Affairs, which used broadcast, cable and closed circuit video for communications during the 1980s. He noted that “there are a growing number of local unions utilizing the simpler, consumer level of video hardware for publicity and other communications. For locals with greater resources, cable television and small format professional video, properly utilized, also afford labor important media outlets.” But Glass argued that local or regional media resource centers could help all union bodies overcome the three main problems for development of a media strategy: coordination, cost and conceptualization. He suggested, for example, that a media resource center could help a union body create a 15-minute VHS cassette that would be distributed as part of an information packet to welcome every new union member. Organizers could also work in the field with VHS cassettes and portable VCRs for playback wherever organizing meetings occur. The article includes a budget for a regional video production studio and a brief labor videography.
-- Phil Glende video cassette recorders (VCRs) magnetic recording VCRs magnetic tape Glende, Phil labor labor, and new media labor, and VCRs VCRs, and labor television labor, and cable television cable television, and labor television, and labor cable Glass, Fred A Locally Based Labor Media Strategy 33270 Glasscock, Jessica Striptease: From Gaslight to Spotlight New York Harry Abrams
2003
Tracing the history of striptease from its origins in American concert saloons (1850s) and dime museums (1880s) to its golden era on nightclub stages (1950s), Jessica Glasscock, a professional writer and sometime historian, argues that striptease was an important element of mainstream theater during the late-nineteenth century to the mid-twentieth. Although striptease is considered seedy in the twenty-first century, its origins were not considered as disreputable.
The striptease (the word originated in the 1920s) involves “four actions: revealing, arousing, amusing, and doing all of these on a stage (p.8).” Each decade, of course, had its own definition of what was revealing. In the 1800s to the early 1900s, the lack of a corset was considered revealing, and performing in flesh-colored stockings even more revealing. By the 1950s, women had to be topless and in a g-string to draw in men, and even then some had to go further. Today, totally nude clubs are the norm.
Glasscock relies on a variety of sources: autobiographies of the striptease artists, New York Times articles railing against the indecency of the stripteaser, vaudeville historians’ accounts, reviews of the striptease shows, and records from court cases where strippers and produces were held on charges of indecency.
The history of striptease is tied in with vaudeville (less indecent) and burlesque (more indecent) shows. Britain Lydia Thompson is considered the founder of burlesque, and her shows featured songs, puns, dancing women, cross-dressing women, and sexual innuendo. She is considered the first “mass-consumable sex symbol in American culture” because she increased her fame through selling “cabinet photos” of herself and her troupe. Vaudeville shows were marketed to women and children, therefore they were sold as not as sexual as burlesque, when in reality, they were nearly as indecent. They featured “skirt dancers” who swished their skirts around and lifted their legs, while performing a variety of different dances like the cancan.
Another way of legitimizing striptease was the tableaux vivant, or living art, a form of entertainment that involved women wearing fleshings, flesh colored stockings, while standing as statues in poses that were supposed to duplicate famous works of art.
Florenz Ziegfeld Jr. also attempted to sanitize striptease for the masses with his Ziegfeld Follies, a vaudeville show which premiered in 1907. This was an Americanization of the French Folies Bergere, and it was known for the lavish costumes of the dancers and featured a number of musical acts, tableau vivants, and comedy sketches. Follies girls were slimmed down versions of the earlier burlesque girls. Several imitators of Ziegfeld came to the fore, and these less-classy revues were targeted by the New York Society for the Suppression of Vice.
Following Ziegfeld, the Minsky brothers created racier productions in the burlesque field, performed at Broadway theaters, and they also claim to have invented striptease; they did invent the term. At this time, stripteasers were considered superstars and they received top billing. One of the biggest stars was Gypsy Rose Lee, who attempted to achieve success in mainstream movies, but only succeeded in b-movies.
In 1937 reformers in New York attempted to connect burlesque performances with sex crimes and the city {refused to renew burlesque theater licenses when they expired on May 1, 1937 (p.119).” A law went into effect that no theater could use the term “burlesque” to describe their entertainment, nor the term “Minsky.” However, the shows went on, just with different names.
Striptease performances migrated from Broadway and other legitimate theaters to nightclubs in the late 1930s. As striptease progressed into the 1950s, stars had to get gimmicks. One famous star of the 1950s, Blaze Starr set a couch on fire during her performances, and others. The gimmicks wore thin, and stripteasers were reduced to simply stripping off their clothes. By the 1960s, striptease had evolved to what it still is today; lap dances and close contact with customers became the draw, as opposed to elaborate stage shows.
-Hallie Liberman Lieberman, Hallie sexuality women sexuality, and women women, and sexuality sexuality, and striptease sexuality, and burlesque Glasscock, Jessica Striptease: From Gaslight to Spotlight 4580 Glastonbury, Bryan and Walter LaMendola The Integrity of Intelligence: A Bill of Rights for the Information Age New York St. Martin's Press
1992
The authors describe themselves as information technology "enthusiasts." They seek a middle ground in dealing with information technology. To leave "IT to grow uncontrolled is the path to putting democracy in jeopardy, trampling over people's rights, placing more power in the hands of corporations and governments, dehumanizing society, and subjugating the majority of us to an insensitive machine intelligence. Nevertheless, to move to the opposite extreme, and seek to destroy or ban IT development and applications, is to deny progress, deprive us of immensely valuable facilities, cause chaos in areas of social and economic organization which have grown dependent on the technology, and make many of our heavily urbanized communities both ungovernable and incapable of self-maintenance."
The book is divided into three parts. The first, chapters 1-4, give an overview of current (1992) IT developments and set out major issues. The second, the following six chapters, considers such global issues as "technology transfer, the role of big business, the impact of people inside the information technology industry, poverty and the Third World, gender and racial discrimination, and the experiences and attitudes of the general public." Part 3 deals with ethics (when, for example, do ethical concerns make intervention appropriate) and a Bill of Rights for the IT age. Each chapter begins with a brief summary of its content.
At the time this book appeared, Glastonbury was at the University of Southampton in the Department of Social Work Studies, and LaMendola was vice president of Colorado Trust. ethics computers corporations corporations, multinational women, and new media law, and privacy law preservation history, and new media Third World community democracy non-USA women values surveillance race political economy information technology history computers and the Internet privacy democracy and media history, of information technology Third World, and new media values, and information technology Bill of Rights, for information technology surveillance global communication multinational corporations women, and information technology race, and information technology ethics, and information technology information technology, and consumers ethics Bill of Rights Glastonbury, Bryan and Walter LaMendola The Integrity of Intelligence: A Bill of Rights for the Information Age 8770 Gleason, Jack International Satellite Reform Committee on Commerce, Science, and Transportation, United States Senate Subcommittee on Communications
(Washington, D.C.: Government Printing Office, July 30, 1997)
Testimony of Jack Gleason, Acting Associate Administrator, Office of International Affairs, National Telecommunications and Information Administration, ... before the Subcommittee on Communications, Committee on Commerce, Science, and Transportation, United States Senate, July 30, 1997 nationalism government hearings government aeronautics and space communication satellites nationalism and communication Gleason, Jack hearings government publications government documents Gleason, Jack International Satellite Reform 15600 Gledhill, Donald ed. Press Clipping File on the Senate Sub-Committee War Film Hearings: Volume I, August 1 through October 15, 1941 Hollywood, CA Academy of Motion Picture Arts and Sciences
1941
Doheny Library, School of Cinema - Television Collection, University of Southern California, Los Angeles In September, 1941, a U. S. Senate subcommittee of the United States Senate’s Interstate Commerce Committee, headed by the Senator Burton K. Wheeler of Montana, accused the major movie studios and their producers of making anti-German propaganda films. At the hearings, several major studios were mentioned as were specific motion pictures (including a few in which future President Ronald Reagan appeared). Some senators pointed to the fact that the major studios were controlled by Jews. The hearings eventually petered out and were largely forgotten after the Japanese attack on Pearl Harbor later that year. This work has numerous clippings of press accounts that covered these hearings. government hearings government hearings motion pictures and popular culture motion pictures motion pictures, and government motion pictures, and 1941 Senate hearing motion pictures, and preparedness motion pictures, and anti-Semitism motion pictures, and military motion pictures, and critics Gledhill, Donald ed. Press Clipping File on the Senate Sub-Committee War Film Hearings: Volume I, August 1 through October 15, 1941 17640 Glessing, Robert J. The Underground Press in America Bloomington, IN Indiana University Press
1970
This book covers the underground press of the 1960s. It mentions some of the technologies that helped to make the underground press possible -- cold-type offset printing is but one example. Such duplicating technologies as the mimeograph is another. The work discusses the Underground Press Syndicate and Liberation News Service. underground newspapers underground media values print values communication revolution journalism communication revolution news and journalism reproduction revolution printing printing press newspapers news books, periodicals, newspapers printing, cold-type offset newspapers, underground underground press Underground Press Syndicate Liberation News Service obscenity, and underground publications graphics revolution reproduction revolution (1960s) duplicating technologies mimeograph obscenity offset printing printing, and offset censorship and ratings Glessing, Robert J. The Underground Press in America 16710 Glueck, Sheldon & Eleanor Delinquents in the Making: Paths To Prevention New York Harper & Brothers
1952
This work, which discussed juvenile delinquency and mass media, was cited by U. S. Supreme Court Justice William O. Douglas in Roth v. United States, 354 U. S. 476 (1957), a case that changed the was the court interpreted obscenity. In this case, Douglas cited research on juvenile delinquency and from the Kinsey Report to argue that literature was not a major sexual stimulant. U. S. Supreme Court Roth case (1957) Douglas, William O. motion pictures censorship and ratings children law censorship and ratings censorship juvenile delinquency censorship, and juvenile delinquency Douglas, William, and Roth v. U. S. (1957) Roth v. U. S. (1957) Supreme Court (U. S.), and Roth v. U. S. (1957) children, and motion pictures motion pictures, and children Supreme Court (U. S.) children, and media Glueck, Sheldon & Eleanor Delinquents in the Making: Paths To Prevention 1140 Godfried, Nathan Struggling Over Politics and Culture: Organized Labor and Radio Station WEVD During the 1930s Labor History
Nov. 2001
42 4 347-69 See also: office Godfried examines the relationship between organized labor and WEVD, a New York radio station started by the Socialist Party with the help of the ILGWU. He notes that WEVD provided a forum for intellectuals and labor groups but that labor organizations generally failed to see the value and provide the funds for sustained programming. Godfried begins with a brief biography of Morris Novik, who became program director in 1932, after the station was turned over to the Jewish Daily Forward. “Novik realized that the advent of broadcasting might undermine live debates ... and he became fascinated with the idea of combining new and old forms of education and entertainment to advance cultural and political struggles.” The station often “gave free air time to labor unions and working-class organizations to make important announcements during strikes, boycotts, lockouts, and organizing drives. At the same time, WEVD actively encouraged local unions to pay for their own programs; and it assisted them in producing these sponsored shows for the purpose of educating, informing and entertaining an extended working class audience.” In 1933, WEVD began The University of the Air , modeled after CBS’s American School of the Air, only with a leftist orientation. The next year, the ILGWU started The Voice of Local 89, an Italian language program aimed at immigrants in the garment industry. Other cultural programming, including dramas, were produced throughout the decade to educate workers about labor issues. Godfried noted that WEVD often made its facilities available during times of labor trouble, but that it also was forced to push labor programming aside during prime listening hours in order to sell airtime for commercial use. Despite positive experiences with radio, leaders of the ILGWU and the ACWA did not commit to sustained programming on WEVD. “ILGWU leaders supported short-term labor radio programming for immediate economic and political gains in the midst of strikes, organizing campaigns, or political elections. But ... only a handful of ... union innovators recognized the importance of maintaining continual access to the airwaves for ongoing political, economic and cultural battles.”
--Phil Glende ethnicity Glende, Phil labor radio labor, and radio radio, and labor labor, and ethnicity radio, and ethnicity ethnicity, and radio radio, and WEVD (New York) Godfried, Nathan Struggling Over Politics and Culture: Organized Labor and Radio Station WEVD During the 1930s 1040 Godfried, Nathan WCFL, Chicago's Voice of Labor, 1926-78 Urbana University of Illinois Press
1997
See also: office Godfried details the more than 50-year history of WCFL, an AM radio station operated in Chicago by the Chicago Federation of Labor, and affiliated with the American Federation of Labor. Godfried argues that the story of WCFL demonstrates an effort by organized labor to “contest the influence of mass media and mass culture on the working class and to use the mass media and culture in the interest of workers.” Godfried’s research extends far beyond WCFL, and he provides considerable detail about the use of mass media by organized labor, including efforts to use shortwave radio, FM radio, television, advertisements and sponsored public affairs programming on commercial and non-commercial stations. His strength is in the generous detail on the history of WCFL, especially in its first 20 years. And he attempts to explain why a radio station operated by organized labor became increasingly centrist and corporatist even during one of the most radical periods in labor history. He begins with a survey of the literature about early efforts by organized labor to use mass media, such as film and the labor press, for communications. WCFL was launched when radio was in its infancy, and hundreds of commercial and non-commercial stations began broadcasting over loosely regulated airwaves in the 1920s. Despite lackluster support from the AFL, the CFL, under the leadership of John Fitzpatrick, its president, and Edward N. Nockels, its secretary, began operating WCFL “to counter the propaganda of capitalist media” and “to shape working-class culture and consciousness.” Godfried argues that the early history of WCFL is also a history of the early struggle for centralized commercial control of the airwaves through a system of government-allocated broadcast licenses. Already by 1926, the Commerce Department maintained that all broadcast wavelengths in the Chicago area were taken, but a federal judge ruled in a suit brought by Zenith Corp. that the department did not have the authority to refuse a license. The city of Chicago granted the CFL permission to use Navy Pier for broadcasting and in July 1926, WCFL began broadcasting four hours a night Tuesday through Saturday. Nockels used the CFL’s publication Federation News to argue for support of the new station and he also used it as an incentive for a union assessment to pay for the station. Godfried provides a detailed account of the battle involving the Federal Radio Commission as the government sought to develop a system of frequency allocations. He also documents the struggle that followed to maintain the viability of the station and the conflict within organized labor about the station’s role and its funding. He describes the evolution of entertainment programming on the station and its complete turn, by 1946, to programming designed to maximize profits by delivering a working class audience to advertisers.
--Phil Glenda Glende, Phil labor radio labor, and radio radio, and labor labor, and WCFL (Chicago) labor, and AM radio Godfried, Nathan WCFL, Chicago's Voice of Labor, 1926-78 41690 Godkin, Edwin Lawrence Reflections and Comments New York C. Scribner's Sons
1895
This book is a collection of articles that E. L. Godkin wrote for The Nation during the previous thirty years. It includes his piece on "Chromo-Civilization." In this piece, which appeared in the Nation (Sept. 24, 1874), Godkin used the term “chromo-civilization” to denounce a “pseudo-culture” that had been created by “common schools, magazines, newspapers, and the rapid acquisition of wealth.” (Relections and Comments, p. 203)
The essays in this book include: -Peace.--Culture and war.--The comparative morality of nations.--The "comic-paper" question.--Mr. Froude as a lecturer.--Mr. Horace Greeley.--The morals and manners of the kitchen.--John Stuart Mill.--Panics.--The odium philologicum.--Professor Huxley’s lectures.--Circumstantial evidence.--Tyndall and the theologians.--The church and science.--the church and good conduct.--Role of the universities in politics.--The Hopkins university.--The South after the war.--Chromo-civilization.--"The short-hairs" and "the Swallow-tails".--Judges and witnesses.--"The debtor class."--Commencement admonition.--"Organs."--Evidence about character.--Physical force in politics.--"Court circles."--Living in Europe and going to it.--Carlyle’s political influence.--The evolution of the summer resort.--Summer rest.--The survival of types.--Will Wimbles. metaphors emotion decadence color in literature color, and research on color color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations censorship and ratings media effects color, media effects media effects, and color color, and sensuality sexuality color, and sexuality sexuality, and color chromo-civilization color, and chromo-civilization metaphors, and color as green fruit color, as intellectual green fruit Godkin, E. L., and chromo-civilization chromo-civilization, and E. L. Godkin news and journalism journalism, and E. L. Godkin journalism Godkin, Edwin Lawrence Reflections and Comments 1570 Goldberg, Vicki The Power of Photography: How Photographs Changed Our Lives New York Abbeville
c1991, 1993
In this book Vicki Goldberg explores the social history of photography from the mid-1800s up to the 1990s. The themes she covers are: photographs as evidence, extending scientific knowledge, their use in social control, as political tools, in fame and celebrity, as social icons, to promote social reform, and as political catalysts. While this book gives a comprehensive overview of the history of photography, Goldberg relies primarily on secondary sources.
A key point that Goldberg makes is that, “ All photographs, including documentary photographs, are open to interpretation -- perhaps one should say vulnerable to interpretation -- when text or context is changed” (p. 96). Along these lines, she discusses how individual differences matter in how people interpret images. She writes, “The meaning of photographic images has always been elusive; it is only becoming more so. People of different background, cultures, and psychological mind-sets respond differently to the same images even before the presenting medium puts a spin on the picture and even if the photograph is pristine and unmanipulated” (p. 259). The question this raises is whether any photograph is ever “pristine” or “unmanipulated” in some way.
Goldberg has an MFA from New York University and has written several other books: Light Matters (2005); Margaret Bourke-White: A Biography (1987); and editor of Photography in Print: Writings from 1816 to the Present (1988).
--Jill Hopke

Goldberg examines photographic images that have become a part of "our communal memory bank" and others less familiar that have also deeply marked our lives. She argues photographic technology has been changing people's minds and rearranging the way we live since its inception. Photography can be used by government to spy on its citizens. Conversely, citizens can use it to reform government. It can look into the human body, create celebrities, boost morale in times of war, and be used as record of one's ancestry. One of her most interesting chapters is on “Icons.”
--Robert Pondillo

 This text examines photography’s influence on a number of different realms ranging from policy-making to war. Goldberg writes with a style that maintains a high level of interest in the reader, and also conveys the sense that the influence of photography transcends mere physical accomplishment and can have an impact on our soul, our mind, our emotions, and out psyche.
Goldberg examines many of the “famous” images in the history of photography such as the Nixon and Khrushchev debate in 1959. Goldberg gives the history and context of this and other photographs. For example, the photographs of the Earth taken from the Apollo 8 were not only influential at the moment, but they helped signify a change in our perspective of where we fit in this universe and may well have helped launch the Ecology movement.
An important subtext to the power of photography is the notion that the picture represents truth and reality. Goldberg indicates that the rise of the photograph was coupled with the philosophical movement of realism and was initially taken as being more real than other representations of people, places, and events. However, as humanities’ relationship with photography grew and became more complex, the boundaries of what was real and what was not, what was simply accepted and what was not, began to change. Photographs revealed that they could spawn revolutions, alter the course of wars, influence powerful governments decision-making, and capture a bit of our soul and our spirit.
--Michael Boyle

Goldberg writes that the "photograph is a highly efficient means of cultural communication; it has the advantages of credibility, easy mass distribution, and instant convertibility into a symbol. Since visual imagery is more readily abstracted than sensations of touch, smell, sound, or taste, the mind is accustomed to using images as ideas (which is apparently what happens in dreams). People cherish photographs, and the culture relies ever more heavily on them, in part because they are so readily converted."
--SV celebrity photography public relations advertising law, and privacy law preservation history, and new media history surveillance propaganda photography, and decontextualization photography and visual communication iconography icons history photography and visual communication photography, and culture icons iconography photography, and history history, and photography photographs, and separated from context surveillance, and photography photography, and surveillance privacy celebrity culture, and photography photography, and celebrity photography, and reform history, break with propaganda, and photography photography, and reality Pondillo, Robert celebrity culture photography, and truth photography, and bias Boyle, Michael news and journalism public relations Hopke, Jill advertising and public relations Goldberg, Vicki The Power of Photography: How Photographs Changed Our Lives 3290 Golden, Frederic Here Come the Microkids Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
218-28 A new generation of computer-literate children has been created by the information technology revolution. Critics divide over whether this development is good or bad. Golden considers why children gravitate to computers so readily and what is happening in American schools. This piece appeared first in Time (May 3, 1982). computers education censorship and ratings information technology computers and the Internet information technology, and education children,and media children, and computers children education, and new media Golden, Frederic Here Come the Microkids 1120 Goldhaber, Michael Microelectronic Networks: A New Workers' Culture in Formation Vincent Mosco and Janet Wasko, eds. The Critical Communications Review, Vol. I: Labor, the Working Class, and the Media Norwood, NJ Ablex Publishing
1983
211-43 See also: office Goldhaber notes that the creation and dissemination of information is becoming increasingly important in the economy, and he argues that new technologies to handle this information are creating new opportunities for working class organization. “New possibilities of intercommunication and of consciousness may in turn lead to significant new forms of working-class organization.” Specifically, Goldhaber argues that e-mail and other sophisticated new communication technologies give white collar workers the tools and the power to communicate about workplace issues. Goldhaber argues that the increased ability to amass and use information in business has created a need for a growing number of white collar workers who share a common experience, similar to the experience shared by industrial workers. “Every industrialized country now has millions of information workers, including clerical workers, programmers, technologists, scientists, analysts, and managers. Relatively few are organized into unions, in part because their close involvement with management prevents them from being seen, even by themselves, as wage workers.” But the common elements of information management jobs “will mean that many workers will come to share a set of experiences.” Because of the ability to intercommunicate, using the information network, “common experience may lead to a unified and powerful class.”
--Phil Glende email electronic mail Glende, Phil labor labor, and new media labor, and electronic media electronic mail, and labor labor, and electronic mail electronic media Goldhaber, Michael Microelectronic Networks: A New Workers' Culture in Formation 19700 Goldman, Eric F. The Tragedy of Lyndon Johnson New York Alfred A. Knopf
1969
This work by a well-known historian who was part of the Lyndon B. Johnson administration, has information on Jack Valenti, who was an assisted to Johnson before he left the White House in 1966 to become president of the Motion Picture Association of America. Goldman thought Valenti had been an effective assistant to Johnson and that Valenti had been underestimated by many. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA Johnson, Lyndon CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) presidents, and new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA Valenti, Jack Johnson administration Valenti, Jack, and LBJ Johnson, Lyndon, and Jack Valenti Valenti, Jack, and background motion pictures and popular culture motion pictures motion pictures, and Jack Valenti MPAA, and Jack Valenti Goldman, Eric F. The Tragedy of Lyndon Johnson 28240 Goldman, Eric Frederick The Crucial Decade: America, 1945-1955 New York Knopf
1956
, television Goldman, Eric Frederick The Crucial Decade: America, 1945-1955 21050 Goldman, Marvin Statement, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" Committee on Governmental Affairs, United States Senate, Ninety-Ninth Congress, First Session Permanent Subcommittee on Investigations
(Oct. 24, 1985)
126-28 The United States Senate held hearings on drug abuse and the entertainment industry in 1985. At these hearings, Marvin Goldman, who had been president of the National Organization of Theater Owners during the late 1970s, strongly recommended giving parents more data about why movie ratings were given. He thought it would be helpful to parents if they knew that a restricted, or R, rating had been given for substance abuse. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation government hearings Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theaters theater owners censorship and ratings rating system (U.S.) archives government substance abuse drug abuse law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA Heffner, Richard motion pictures and popular culture motion pictures classification, and motion pictures motion pictures, and classification classification, and independent producers CARA, and Jack Valenti rating system (U. S.) motion pictures, and Congress hearings Valenti, Jack, and Congress Heffner, Richard, and Congress rating system (U. S.), and drug abuse drug abuse, and rating system (U. S.) drug abuse, and classification NATO rating system (U. S.), and NATO hearings, and NATO hearings, and Richard Heffner hearings, and drug abuse CARA, and appeals process Goldman, Marvin Goldman, Marvin Statement, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" 23970 Goldman, Marvin Testimony, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" Committee on Governmental Affairs, United States Senate, Ninety-Ninth Congress, First Session Permanent Subcommitee on Investigations
(Oct. 24, 1985)
Oct. 24, 1985 122-25 The United States Senate held hearings on drug abuse and the entertainment industry in 1985. At these hearings, Marvin Goldman, who had been president of the National Organization of Theater Owners during the late 1970s, strongly recommended giving parents more data about why movie ratings were given. He thought it would be helpful to parents if they knew that a restricted, or R, rating had been given for substance abuse. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation government hearings Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theaters theater owners censorship and ratings rating system (U.S.) archives government substance abuse drug abuse law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA Heffner, Richard motion pictures and popular culture motion pictures classification, and motion pictures motion pictures, and classification classification, and independent producers CARA, and Jack Valenti rating system (U. S.) motion pictures, and Congress hearings Valenti, Jack, and Congress Heffner, Richard, and Congress rating system (U. S.), and drug abuse drug abuse, and rating system (U. S.) drug abuse, and classification NATO rating system (U. S.), and NATO hearings, and Marvin Goldman hearings, and Marvin Goldman hearings, and drug abuse CARA, and appeals process television television, and rating system (U. S.) television, and drug use Goldman, Marvin Testimony, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" 17430 Goldsmith, Alfred N. Avoiding Pseudo Scientific Studies of the Movies Will H. Hays Papers
May 26, 1933
This work attempts to cast doubt on social science research that showed a connection between watching motion pictures and juvenile delinquency. Will Hays, the president of the Motion Picture Producers and Distributors of America, used such findings in an effort to counter the Payne Fund Studies, the first large-scale study by social scientists of the effects of movies. This material is in the Will H. Hays Papers, Indiana State Library, Indianapolis, IN. Motion Picture Association of America (MPAA) self-regulation Production Code PCA social science research Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA MPPDA censorship and ratings children motion pictures and popular culture motion pictures Payne Fund Studies MPPDA, and Payne Fund Studies social science research, and motion pictures motion pictures, and social science MPPDA, and public relations MPPDA, and experts Hays, Will H., and social science children, and motion pictures motion pictures, and children juvenile delinquency, and motion pictures motion pictures, and juvenile delinquency Hays, Will H. junvenile delinquency media effects Production Code (motion pictures) juvenile delinquency children, and media Goldsmith, Alfred N. Avoiding Pseudo Scientific Studies of the Movies 1270 Goldstein, M. J. Exposure to Erotic Stimuli and Sexual Deviance Journal of Social Science
1973
29 3 197-219 See also: violence See also: sexuality The purpose of this study was to examine the relationship between pornography exposure, particularly in youth, and ‘the development of normal or abnormal behavior’ (197). To do this, Goldstein examines four distinct groups(1) institutionalized sex offenders, (2) non-heterosexuals, (3) pornography users, and (4) a control group. Members of each group were assessed for how often they were exposed to a variety of pornographic themes in photos, movies, and books. Exposure to pornography in adolescence and the year prior to the study was lower for each of the three test groups than for the control group. This study is of use to current scholars because it is an initial attempt to distinguish between differences in use across media, and also examines groups that are presumably influenced by pornography (i.e. sex offenders). This study concludes that some pornography use for arousal and release (masturbation) is good for developing normal heterosexual behaviors, but continuation of this pattern into adulthood is not desirable and was demonstrated only by users and sex offenders.
--Michael Boyle photography women, and new media women social science research sexuality motion pictures media effects media violence violence censorship and ratings Boyle, Michael pornography media effects pornography, and rape myths violence, and pornography pornography, and violence women, and pornography pornography, and women motion pictures and popular culture pornography, and motion pictures motion pictures, and pornography social science research, and pornography pornography, and social science media effects, and pornography pornography, and media effects media effects, and violence media effects, and motion pictures photography and visual communication photography, and pornography pornography, and photography children children, and pornography pornography, and children pornography, and defenders pornography, and postive effects children, and media Goldstein, M. J. Exposure to Erotic Stimuli and Sexual Deviance 20380 Goldstein, Tom Obscenity Law: Standards Vary New York Times
Feb. 10, 1977
This article looked at the different ways obscenity laws were applied in the United States. The piece came in the aftermath of the Miller v. California (1973) U. S. Supreme Court decision and after such hard-core pornographic movies as Deep Throat (1972) had appeared in mainstream theaters. Theater owners were especially interested in this issue. A clipping of this article is in Folder 4, Box 6, Mss 1446, Records of the National Association of Theater Owners, Special Collections and Manuscript, Harold B. Lee Library, Brigham Young University, Provo, UT. Miller v. California values sexuality pornography values obscenity values community motion pictures and popular culture motion pictures motion pictures, and pornography pornography, and Deep Throat obscenity, and law obscenity, and Deep Throat Miller case community standards, and pornography pornography, and community standards censorship and ratings law Goldstein, Tom Obscenity Law: Standards Vary 2950 Goldwyn, Ed Now the Chips are Down Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
297-307 This piece is a condensed version of the script of BBC 2 Television's documentary "Now the Chips are Down." It first appeared in print form in The Listener (April 6, 1978). computers microprocessing transistors, and integrated circuits values communication revolution second industrial revolution communication revolution materials materials computers values religion microelectronics computers and the Internet artificial intelligence and biotechnology microprocessors microelectronics revolution transistors Bell Laboratories integrated circuits communication revolution chips, computer computer chips Goldwyn, Ed Now the Chips are Down 34970 Goldwyn, Samuel World Challenge to Hollywood New York Times
Aug. 31, 1947
SM 8, 30 Movie producer Goldwyn argued that American films could be "the best propaganda for the American way of life because they have no propaganda motive." (8) Goldwyn included in this statement even films that tried to expose poverty and projudice in American life such as Grapes of Wrath, Crossfire, and Gentleman's Agreement. Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects capitalism capitalism, and motion pictures motion pictures, and capitalism Goldwyn, Samuel World Challenge to Hollywood 33840 Gomersall, Alan Machine Intelligence: An International Bibliography with Abstracts of Sensors in Automated Manufacturing Berlin, Heidelberg, New York, Tokyo IFS (Publications) Ltd., U. K.
1984
The 222-page annotated bibliography covers research from the major industrialized nations on sensors for use with industrial robots that was done largely from 1972 to 1984. The Introduction notes that "In 1981 Robotics Bibliography was published containing over 1,800 references on industrial robot research and development, culled from the scientific literature over the previous 12 years. It was felt that sensors for use with industrial robots merited a section and accordingly just over 200 papers were included.
"It is a sign of the increased research into sensors in production engineering that this bibliography on both the contact and non-contact forms has appeared less than three years after that first comprehensive collection of references appeared." (vii)
There are five broad categories in this volume: 1) General Literature on Sensors (covering Literature Reviews and Bibliographies, Conferences, Researc Review and Projections, General Papers, Reviews, Books, and Reports); 2) Non-Contact Sensors; 3) Contact Sensors; 4) General Vision Sensor and Tactile Sensor Technology; 5) Operational Application Sensors.
This work forcues on scientific and engineering research and is geared for people working in those areas. bibliographies bibliographies, annotated artificial intelligence and biotechnology bibliographies, and artificial intelligence labor labor, and robotics robotics artificial intelligence, bibliographies sensors sensors, bibliographies non-USA Gomersall, Alan Machine Intelligence: An International Bibliography with Abstracts of Sensors in Automated Manufacturing 9780 Gomery, Douglas The Coming of Sound: Technological Change in the American Film Industry Tino Balio, ed. The American Film Industry Madison University of Wisconsin Press
1985, rev. ed.
229-51 Gomery describes the introduction of widely available sound in U.S. motion pictures during a relatively short period late in the 1920s and early in the 1930s. He describes this introduction in three phases: invention, innovation and diffusion. While sound for film had been under experimentation for some time, it required two industry powerhouses, RCA and AT&T, to develop the technology, and two movie studios, Fox and Warner Brothers, to spur its universal development. Once introduced, other producers and exhibitors rushed to follow the lead.
--Phil Glende corporations corporations corporations inventions innovation motion pictures motion pictures sound recording Glende, Phil motion pictures, and sound technology AT & T RCA inventions, and diffusion Gomery, Douglas The Coming of Sound: Technological Change in the American Film Industry 13080 Gomery, Douglas The Hollywood Studio System New York St. Martin's Press
1986
This informative work deals with the Hollywood studio system which influence movie making during the 1930s and 1940s. Gomery discusses the star system and also covers the distribution and exhibition of films. This work is especially helpful in explaining the economic context of movie entertainment. motion pictures and popular culture motion pictures motion pictures, and actors' status studio system motion pictures, and studio system motion pictures, and exhibition motion pictures, and distribution motion pictures, and star system star system, and motion pictures Gomery, Douglas The Hollywood Studio System 6230 Gomery, Douglas Shared Pleasures: A History of Movie Presentation in the United States Madison University of Wisconsin Press
1992
Gomery stresses the impact of social, economic, and technological factors on the industry’s revenue. This book is an extension of his earlier work, The Hollywood Studio System (New York, 1986). Shared Pleasures is divided into three parts. The first describes the growth of movie theaters from the 1890s to the mall multiplex of the early 1990s. Part 2 looks at alternative types of specialized theaters such as art theaters and those catering to ethnic groups. Part 3, is entitled “Technological Transformations.” Chapters 10-14 are devoted to “Sound,” “Color and Wide-Screen Images,” “Movies on Television,” “Cable Television’s Movie Channels,” “Home Video,” and “Epilogue.” Part I is “Business History,” and Part II is “Alternative Operations” (theaters for blacks, ethnic and art cinema).
This work give a solid account of the coming of sound, color movies, wide-screen systems, 3-D films, and cable. It is based on collections in the Wisconsin Historical Society, periodicals, and secondary literature. Gomery offers a good account of cinerama and cinemascope as well as Panavision and Eastman Color. The material about movies on TV and cable is a good introduction but moves more toward description the closer the author approaches the present. entertainment video cassette recorders (VCRs) audiences entertainment, home magnetic recording home entertainment magnetic tape home, and new media home motion pictures motion pictures, and technology motion pictures motion pictures, and sound color motion pictures, and color motion pictures, and widescreen television television, and motion pictures cable, television television, and cable television, and cable motion pictures motion pictures, and 3-D motion pictures, and home video VCRs motion pictures, and theaters theaters African Americans, and motion pictures motion pictures, and art cinema Cinerama CinemaScope Panavision Eastman Color motion pictures, and technological innovations sound recording cable home video, and motion pictures home, and VCRs African Americans Gomery, Douglas Shared Pleasures: A History of Movie Presentation in the United States 2570 Gomery, Douglas Theatre Television: The Missing Link of Technological Change in the U.S. Motion Picture Industry Velvet Light Trap
Summer 1985
21 54-61 Filed under Velvet Light Trap Contrary to film history texts, movie executives did not ignore television as a competitor and from the 1930s on put considerable thought and discussion into how best to deal with this growing competitor. The Academy of Motion Picture Arts and Sciences urged major studios to install television in their movie theaters. audiences widescreen theaters motion pictures motion pictures and popular culture motion pictures, and widescreen widescreen, and motion pictures television television, and motion pictures motion pictures, and television theaters, and television television, and motion picture theaters Gomery, Douglas Theatre Television: The Missing Link of Technological Change in the U.S. Motion Picture Industry 4720 Good, I. J. The Social Implications of Artificial Intelligence Good, Irving John Alan James Mayne and John Maynard Smith eds. The Scientist Speculates: An Anthology of Partly-Baked Ideas New York Basic Books, Inc.
1962
192-98 Of work on artificial intelligence, Good wrote in 1962: "It is true that the programs so far have not produced much really original 'thought', but the work is being greatly accelerated both by improvements in computers, and in programming techniques, especially the latter. The elementary instructions in these programs are being built up into larger and more intuitively appealing units, and they enable the human to communicate with the machine with greater and greater flexibility. Programs can be quickly modified, in minutes rather than weeks, and consequently the work on artificial intelligence can be expected to expand exponentially during say the next eight years. The variety of applications will likewise increase rapidly and it is not easy to see where the saturation point will be." Arthur C. Clarke cited Good's work in a 1967 Playboy article on artificial intelligence. computers values future and science fiction artificial intelligence and biotechnology computers and the Internet progress future artificial intelligence, and 1960s Clarke, Arthur C. artificial intelligence future, and artificial intelligence Good, I. J. The Social Implications of Artificial Intelligence 18360 Goodavage, Maria City film censor board snipped from budget Chicago Tribune
Jan. 20, 1984
This article notes that Chicago had cut the budget for its censorship board. The censorship board had been in existence since 1907 and was the first municipal censorship board created in response to motion pictures. A clipping of this article is in the Cook County Police Censorship Records, Illinois Regional Archives Depository (IRAD), Ronald William Library, Northeastern Illinois Univerity, Chicago, IL law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and censorship motion pictures, and Chicago censorship archives censorship, local archives Goodavage, Maria City film censor board snipped from budget 26920 Goodell, Jeffrey What Hill & Knowlton Can Do for You (And What It Couldn't Do for Itself) New York Times
Sept. 9, 1990
6 (Magazine Desk) 44 This article was part of the coverage of the sex scandal involving Father Bruce Ritter of Covenant House, and a former member of the Meese Commission on pornography in 1985-86. Although Ritter denied wrongdoing, private investigators hired by Covenant House confirmed his misconduct. In the wake of the scandal, Ritter resigned as head of Covenant House and his order instructed him to “daily living” within his the Franciscan community. Covenant House turned to the public relations firm of Hill & Knowlton to rebuild its image. corporations corporations advertising, and public relations propaganda advertising Hill & Knowlton public relations public relations, and pornography pornography, and public relations Ritter, Bruce Covenant House, and Bruce Ritter Ritter, Bruce, and pornography pornography Goodell, Jeffrey What Hill & Knowlton Can Do for You (And What It Couldn't Do for Itself) 26740 Goodman, Walter Battle on Pornography Spurred by New Tactics New York Times
July 3, 1984
A 8A This piece deals an anti-pornography alliance that had formed between feminists and conservatives who backed the Reagan administration. The National Organization of Women, which stopped short of calling for a complete ban on pornography, nevertheless said that pornography violated the civil rights of children and women and contributed strongly to sex discrimination. women, and new media sexuality women feminism law censorship and ratings censorship newspapers, pornography pornography, and women women, and pornography pornography, and NOW NOW, and pornography feminism, and pornography pornography, and feminism censorship, and pornography pornography, and censorship, NOW newspapers news NOW pornography news and journalism Goodman, Walter Battle on Pornography Spurred by New Tactics 24200 Goodman, Walter Liberty Panel Ponders Wherefores of Freedom New York Times
July 7, 1986
B 4B In July, 1986, Richard D. Heffner, head of the motion picture industry’s Classification and Ratings Administration, chaired a conference on “Liberty -- the Next 100 Years,” sponsored by Rutgers University and New York University. The conference brought together prominent leaders and intellectuals to debate First Amendment issues. One debate centered around the question, “can free speech become too costly?” Here the discussion turned to pornography. An ACLU representative argued against prior restraint on speech and against restrictions on sexually explicit materials while a writer for the National Review urged community action rather than seeking legal remedies to fight the thriving sex shops then in mid-town Manhattan. Some civil libertarians applauded Tipper Gore because her plan for labeling rock music albums relied on pressure from the community rather than legal penalties to obtain results. Catharine MacKinnon’s call for more punitive measures in the effort to control pornography, however, met with a generally negative response. The conference also debated the question, “when considering personal liberty, where does one draw the line between private interests and public well being?” Panelists maintained that a proper understanding of “liberty” would lead to a “sense of community” in the United States, one that would respect minority opposition. Yet another discussion asked if the doctrine of original intent sufficiently safeguarded liberties?” sexuality freedom pornography First Amendment First Amendment, and pornography Heffner, Richard Heffner, Richard, and First Amendment Liberty--the Next 100 Years Conference Gore, Tipper MacKinnon, Catharine ACLU Heffner, Richard, and ACLU Burns, James MacGregor Wiesel, Elie Heffner, Richard, and Elie Wiesel law Goodman, Walter Liberty Panel Ponders Wherefores of Freedom 24190 Goodman, Walter Liberty Weekend/The People: Liberty Coferees Debate Judges' Role New York Times
July 6, 1986
A 18A In July, 1986, Richard D. Heffner, head of the motion picture industry’s Classification and Ratings Administration, chaired a conference on “Liberty -- the Next 100 Years,” sponsored by Rutgers University and New York University. The conference brought together prominent leaders and intellectuals to debate First Amendment issues. One debate centered around the question, “can free speech become too costly?” Here the discussion turned to pornography. An ACLU representative argued against prior restraint on speech and against restrictions on sexually explicit materials while a writer for the National Review urged community action rather than seeking legal remedies to fight the thriving sex shops then in mid-town Manhattan. Some civil libertarians applauded Tipper Gore because her plan for labeling rock music albums relied on pressure from the community rather than legal penalties to obtain results. Catharine MacKinnon’s call for more punitive measures in the effort to control pornography, however, met with a generally negative response. The conference also debated the question, “when considering personal liberty, where does one draw the line between private interests and public well being?” Panelists maintained that a proper understanding of “liberty” would lead to a “sense of community” in the United States, one that would respect minority opposition. Yet another discussion asked if the doctrine of original intent sufficiently safeguarded liberties? Panelists maintained that a proper understanding of “liberty” would lead to a “sense of community” in the United States, one that would respect minority opposition. Yet another discussion asked if the doctrine of original intent sufficiently safeguarded liberties? Charles Fried, the Solicitor General of the United States, and columnist Midge Decter argued that the Constitution should be “interpreted rather than invented,” and that judges should follow the original intention of the Constitution’s framers, not attempt to create new law. Others felt this position was inadequate for the times. Floyd Abrams, who specialized in First Amendment issues, said that the Constitution had been created before the invention of modern communications and historian James MacGregor Burns observed that the Constitution was “not a sacred document” but “a charter of government that was made by man” and could be “changed by man.” sexuality freedom pornography First Amendment First Amendment, and pornography Heffner, Richard Heffner, Richard, and First Amendment Liberty--the Next 100 Years Conference Gore, Tipper MacKinnon, Catharine ACLU Heffner, Richard, and ACLU Burns, James MacGregor Wiesel, Elie Heffner, Richard, and Elie Wiesel law Goodman, Walter Liberty Weekend/The People: Liberty Coferees Debate Judges' Role 33550 Goodyear, Anne Collins The Relationship of Art to Science and Technology in the United States, 1957-1971 University of Texas, Austin
2002
Abstract for this Ph. D. thesis is from UMI ProQuest Digital Dissertations: "This study examines the relationship of art to science and technology in the United States in the decade and a half following the launch of Sputnik by the Soviet Union in 1957. During this period, from 1957 to approximately 1971, the art world witnessed a burst of activity connecting these fields, a development which has been largely overlooked in art historical accounts of the 1960s. The following survey explores four programs that established links between artists, engineers, and scientists: the NASA Art Program, established 1962; Experiments in Art and Technology, founded 1966; the Center for Advanced Visual Studies, created in 1967 at the Massachusetts Institute of Technology; and 'Art and Technology,' an exhibition program carried out at the Los Angeles County Museum of Art between 1966 and 1971. This dissertation describes how a widespread interest on the part of artists in new technologies and scientific methods grew out of a broad desire to break down traditional categories of art making. However, it also asserts that this boom in projects connecting art, science, and technology cannot be fully understood apart from the political and social context of the Cold War. An important dimension of this historical situation was the Vietnam War, which became increasingly controversial in the late 1960s and early 1970s, eventually contributing to a dramatic decrease in interest in projects joining art, science, and technology, and negatively impacting the programs discussed here in the early 1970s.
 visual communication technology National Aeronautics and Space Administration (NASA) nationalism art visual culture art, and technology NASA nationalism and communication technology, and art technology and society Goodyear, Anne Collins The Relationship of Art to Science and Technology in the United States, 1957-1971 540 Gordon, George N. The Communications Revolution: A History of Mass Media in the United States New York Hastings House
1977
“Put simply, I have in these pages attempted to tell, in general terms, the story of The Communications Revolution, with emphasis upon its growth and development in the United States of America,” Gordon says. He uses a chronological approach to discuss personalities, inventions, and events.
This work seems very broad with relatively little discussion of how various inventions may have altered society. Gordon devotes considerable attention to the press, photography, radio, movies, and television (with some discussion of cable). Yet he provides only the most cursory mention of the transistor and no discussion of such things as computers or photocopying. This book is similar to a textbook. Its bibliography is thin and rather general. photography transistors integrated circuits democracy and media democracy news and journalism motion pictures communication revolution innovation general studies communication revolution inventions inventors press photography and visual communication radio motion pictures and popular culture television television, and cable transistors Gordon, George N. The Communications Revolution: A History of Mass Media in the United States 6880 Gordon, J. E. H. Anomalous Behavior of Selenium Nature
July 8, 1875
12 187 materials television, and history of television television, and origins seeing at a distance selenium Gordon, J. E. H. Anomalous Behavior of Selenium 11620 Gordon, James Steele A Thread across the Ocean: The Heroic Story of the Transatlantic Cable New York Harper Collins
2002
Gordon’s book describes the events surrounding the creation of the first transatlantic cable from Great Britain to the United States. The idea of a transatlantic cable had been around since the advent of the telegraph, but Cyrus Field was the first one to make it a reality. Field organized a team of experts in fields as diverse as shipping and navigation to figure out how to take strands of copper wire and secure them at the bottom of the Atlantic Ocean. In his team, Field recruited Samuel Morse, famed inventor of one of the first telegraph machines and the coded system of dots and dashes that helped revolutionize the telegraph and bears his name to this day.
In all, Field and his team need four tries covering about ten years before they could produce a fully functioning transatlantic cable that could was reliable and efficient regarding the speed of transmission. In the process, they encountered a multitude of hardships, including financial trouble, budgetary and time increases that far exceeded anything projected, bad weather, and even suspected sabotage. But the book tries to make the situation more dramatic than it may have been when compared to every other major human manufacturing endeavor. Every human accomplishment has come with trials and tribulations. When taken from a business perspective, it comes as no surprise that an attempt to bridge the Atlantic Ocean with a new invention is going to cost more than expected. From a navigational perspective, a year-long trip across the Atlantic is going to encounter some rough weather. Even the problems with the cable had more to do with retrieval than broken lines, which could be spliced together and reset with little difficulty. In the end, Field and his team helped create a whole new world of communication. His success with the transatlantic cable spawned a myriad of other submarine cable connections from Europe to as far as India. In fact, the techniques his team developed regarding seamanship and submarine cable laying are used to this day.
--Patrick Wright Wright, Patrick telegraph electricity non-USA Great Britain Great Britain, and transatlantic cable transatlantic cable telegraph, and transatlantic cable Field, Cyrus Morse, Samuel capitalism capitalism, and transatlantic cable transatlantic cable, and capitalism Gordon, James Steele A Thread across the Ocean: The Heroic Story of the Transatlantic Cable 42340 Gordon, Mary World-Consciousness Christian Advocate
April 18, 1901
76 16 610 In this Methodist publication, Mary Gordon writes about the impact of modern communication (the printing press and "the electric wire"): “Before our own breakfast we read how many will be breakfastless in India. The sufferings of American and Filipino, of Boer and Briton on the uncleared battlefield are not fact of past history; they are present agonies.” The “'other half,’ with its squalor, misery, and oppression, stares out at us with hollow eyes from between the comforts of our own daily lives. Our minds are like the operator’s table in one of the great telegraph centers, on which messages from all points of the compass are ticked off at the same instant. We are perplexed and confused." Later she says that "Our faith must embrace a larger world" that that of earlier generations. "It must be a sublimed thing. To lose it in these days is to lose our balance. Steam and electricity have, indeed, raised the curtain, and all the world is on the stage in one tremendous act." (610) progress electricity nationalism and communication electricity, and nationalism nationalism, and electricity religion religion, and telegraph religion, and electricity electricity, and religion electricity, and imperialism nationalism, and evangelization electricity, and progress progress, and electricity progress, and steam power news and journalism electricity, and news news, and electricity steam power news, and steam power nationalism news Gordon, Mary World-Consciousness 41480 Gorky, Maksim [Kingdom of the Shadows] Emmanuelle Toulet Birth of the Motion Picture (ranslated from the French by Susan Emanuel) New York Harry N. Abrams, Inc.
1988, 1995
132-33 Novelist Maksim Gorky’s observation on seeing his first Lumière movie July 4, 1896:

“Last evening, I was in the Kingdom of the Shadows.
“If one could only convey the strangeness of this world. A world without color and sound. Everything here -- the earth, water, and air, the trees, the people -- everything is made of a monotone gray. Gray rays of sunlight in a gray sky, gray eyes in a gray face, leaves as gray as cinder. Not life, but the shadow of life. Not life’s movement, but a sort of mute specter.
“Here I must try to explain myself before the reader thinks I have gone mad or become too indulgent toward symbolism. I was at Aumont’s Cinématographe, the moving pictures. This spectacle creates an impression so complex that I doubt I am able to describe all its nuances. I will however try to convey the essentials.
“When the lights are extinguished in the hall where we are to be shown the Lumière brothers’ invention, a great gray image, the shadow of a poor engraving, suddenly appears on the screen; it is A Paris Street. Examining it, one sees carriages, buildings, people, all immobile, and you predict that the spectacle will have nothing new: views of Paris, who has not seen them so many times? And suddenly, with a curious click on the screen, the image is 132/133 brought to life. The carriages that were in the background of the image come right toward you. Somewhere in the distance people appear, and the closer they get, the more they grow. In the foreground children play with a dog, bicyclists turn and pedestrians seek to cross the street. It all moves, breathes with life, and suddenly, having reached the edge of the screen, disappears one knows not where.
“This is all strangely silent. Everything takes place without your hearing the noise of the wheels, the sound of footsteps or of speech. Not a sound, not a single note of the complex symphony which always accompanies the movement of a crowd. Without noise, the foliage, gray as cinder, is agitated by the wind and the gray silhouettes of people condemned to a perpetual silence, cruelly punished by the privation of all the colors of life these silhouettes glide in silence over the gray ground.
“Their movements are full of vital energy and so rapid that you scarcely see them, but their smiles have nothing of life in them. You see their facial muscles contract but their laugh cannot be heard. A life is born before you, a life deprived of sound and the specter of color a gray and noiseless life a wan and cut-rate life.
“It is terrible to see, this movement of shadows, nothing but shadows, the specters, these phantoms; you think of the legends in which some evil genius causes an entire town to be seized by a perpetual sleep and you think you have seen some Merlin work his sorcery in front of your eyes. He has bewitched the whole street, compressed the high buildings; from roof to foundations, they are squeezed into a space that seems to be only a meter wide; the people were shrunk proportionally at the same time as their ability to speak was stolen, and as the earth and the sky were plundered of their colored pigment and draped in the same gray monotone.
“This grotesque creation is presented to us in a sort of niche at the back of a restaurant. Suddenly, you hear something click; everything disappears, and a train occupies the screen. It heads straight for us watch out! You could say that it wants to bear down into the dark where we are, to make of us an unspeakable heap of torn flesh and broken bones, and reduce to dust this hall and the whole edifice filled with wine, music, women, and vice.
“But no! It is only a cortege of shadows.”

Maksim Gorky
Nijegorodskilistok
4 July 1896

 Maksim Gorky, Nijegorodskilistok, July 4, 1896, reprinted in Emmanuelle Toulet, Birth of the Motion Picture (New York: Harry N. Abrams, Inc., 1995) (translated from the French by Susan Emanuel, Cinématographie, invention du siècle (Paris: Ed. Gallimard, 1988), 132-33. At publication Emmanuelle Toulet was curator in the Department of Entertainment Arts at the Bibliothèque Nationale in Paris. theater stage history photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures history and new media motion pictures, and history history, and motion pictures photography and visual communication photography, and history history, and photography Gorky, Maksim, and silent film Gorky, Maksim color color, and motion pictures motion pictures, and color sound recording sound recording, and motion pictures motion pictures, and sound recording color, and Maksim Gorky Gorky, Maksim, and color Gorky, Maksim [Kingdom of the Shadows] 42560 Gorky, Maxim Boredom The Independent
Aug. 8, 1907
63 3062 309-17 In 1906 (?), Maxim Gorky visited the metropolitan playground of Coney Island, and found its outward appearance of gayety deceiving. “With the advent of night a fantastic city all of fire suddenly rises from the ocean into the sky,” he began. “Thousands of ruddy sparks glimmer in the darkness, limning in fine, sensitive outline on the black background of the sky, shapely towers of miraculous castles, palaces and temples. Golden gossamer threads tremble in the air. They intertwine in transparent, flaming patterns, which flutter and melt away in love with their own beauty mirrored in the waters. Fabulous and beyond conceiving, ineffably beautiful, is this fiery scintillation. It burns but does not consume. Its palpitations are scarce visible. In the wilderness of sky and ocean rises the magic picture of a flaming city.” (309)
But the beauty of this man-made setting was superficial and its impact on the people who became immersed in its amusements was deadening, Gorky thought. “The visitor is stunned; his consciousness is withered by the intense gleam; his thoughts are routed from his mind; he becomes a particle in the crowd. People wander about in the flashing, blinding fire intoxicated and devoid of will. A dull-white mist penetrates their brains, greedy expectation envelopes their souls. Dazed by the brilliancy the throngs wind about like dark bands in the surging sea of light, pressed upon all sides by the black bournes of night. (310)
“Everywhere electric bulbs shed their cold, garish gleam. They shine on posts and walls, on window casings and cornices; they stretch in an even line along the high tubes of the power-house; they burn on all the roofs, and prick the eye with the sharp needles of their dead, indifferent sparkle. The people screw up their eyes, and smiling disconcertedly crawl along the ground like the heavy line of a tangled chain. (310)
“A man must make a great effort not to lose himself in the crowd, not to be overwhelmed by his amazement an amazement in which there is neither transport nor joy….” (310)
What from a distance appeared beautiful upon close inspection was hideous. Everywhere the visitor discovered “a dull, gloomy ugliness. The city, magic and fantastic from afar, now appears an absurd jumble of straight lines of wood, a cheap, hastily constructed toy-house for the amusement of children. Dozens of white buildings, monstrously diverse, not one with even the suggestion of beauty. They are build of wood, and smeared over with peeling white paint, which gives them the appearance of suffering with the same skin disease…. Everything is stripped naked by the dispassionate glare. The glare is everywhere, and nowhere a shadow. Each building stands there like a dumbfounded fool with wide-open mouth, and sends forth the glare of brass trumpets and the whining rumble of orchestrions. Inside is a cloud of smoke and the dark figures of the people…. (311)
“The soul is seized with a desire for a living, beautiful fire, a sublime fire, which should free the people from the slavery of a varied boredom. For this boredom deafens their ears and blinds their eyes….” (311)
Gorky comments on the inanity of the amusements and the cruelty shown to the animals that make up some of the entertainment. The spectators “with weary faces and colorless eyes … drink in the vile poison” of these pleasures “with silent rapture. Boredom whirls about in an idle dance, expiring in the agony of its inanition.” (317)
All this “aimless straying stupefies the people,” Gorky said. “But for that very reason it is profitable both to the traders in morality and the venders of depravity.” (314) modernity modernity, and Coney Island amusements, and modernity new way of seeing electricity electricity, and color color color, and electricity color, and amusement parks electricity, and amusement parks electricity, and Coney Island critics, and modernity critics, and amusement parks critics critics, and electricity critics, and Coney Island Gorky, Maksim, and silent film Gorky, Maksim sound recording sound recording, and amusement parks amusement parks, and sound recording color, and Maksim Gorky Gorky, Maksim, and color amusement parks Gorky, Maxim Boredom 3160 Gottlieb, Nanette Word-Processing Technology in Japan: Kanji and the Keyboard Richmond Surrey, Great Britain Curzan Press
2000
The author maintains that "one of the most important developments in the history of Japan's writing system has been the invention of character-capable word processing technology which has enabled characters to be handled electronically, thereby solving what had seemed an intractable problem for machine production of documents. The nature of the Japanese script, in particular the use of a large set of kanji (Chinese characters), for a long time worked against office automation, to the extent that Japan did not experience a successful typewriter era as did the west. With the unveiling of the first word processor in 1978 came a sense of liberation from the constraints imposed by the writing system in company offices and, a few years later, in homes and universities as well. So great was the change that one commentator hailed this technology as worthy of an Order of Cultural Merit."
The traces the changes in writing from hand-written manuscripts to the computer, and then considers the cultural consequences of word processing and its implications for international communication. computers nationalism writing labor computers non-USA Japan Japan, and word processing nationalism and communication nationalism, and word processing nationalism, and computers computers and the Internet Japan, and typewriters typewriters typewriters, and Japan computers, and word processing computers, and Japan office, and word processing office, and Japan writing, and Japan Japan, and writing writing, and word processing office Gottlieb, Nanette Word-Processing Technology in Japan: Kanji and the Keyboard 10280 Gottmann, Jean Megalopolis and Antipolis: The Telephone and the Structure of the City Ithiel de Sola Pool, ed. The Social Impact of the Telephone Cambridge, MA MIT Press
1977
303-17 This essay examines the telephone and its relation to the design of the modern city. telephones urban studies space (spatial) telephones, and urban design geography Gottmann, Jean Megalopolis and Antipolis: The Telephone and the Structure of the City 21960 Gould, Jay TV Violence Held Unharmful to Youth New York Times
Jan. 11, 1972
1, 75 See also: violence See also: sexuality The press coverage Surgeon General's Report on television violence in 1972 was confusing. The initial summary of the Report in this New York Times article, which led with the headline “TV Violence Held Unharmful to Youth,” misrepresented the studies. Several of the studies in the Surgeon General's Report indicated that what children learned from television could be good or bad, and that the effects of this learning could be strongly influenced by parents. The studies showed that even though parents were uneasy about what their children learned from TV, they often failed to provide supervision for even the youngest child. The thrust of this research conducted in experimental settings confirmed that “more overt aggressive behavior follows exposure to violent content than to nonviolent content or no content.” Surgeon General motion pictures media effects media violence media effects motion pictures and popular culture Surgeon General's Report (1972) violence violence, and Surgeon General's Report (1972) media effects, and violence media effects, and Surgeon General's Report (1972) television television, and violence television, and Surgeon General's Report (1972) television, and media effects media effects, and television Gould, Jay TV Violence Held Unharmful to Youth 3230 Grabe, Maria Elizabeth Matthew Lombard Robert D. Reich Cheryl Campanella and Theresa Bolmarcich Ditton The Role of Screen Size in Viewer Experiences of Media Content VCQ: Visual Communication Quarterly
Spring 1999
6 2 4-9 See also: violence See also: sexuality The authors survey research on the effects of screen size in viewers' experiences with media content. They notes that in "media production circles there is currently a trend toward the increased use of images and editing techniques designed to elicit visceral responses in viewers." Evidence comes from TV news program, MTV shows, and television advertising. The authors suggest that as sales of large-screen televisions and other media increase, the question raised in this study will increase in importance. syntheses (of research) computers advertising, and public relations propaganda public relations motion pictures media effects media violence violence media effects journalism computers news and journalism television motion pictures and popular culture computers and the Internet television, and screen size motion pictures, and screen size computers, and screen size media effects, and screen size bibliographies, and effects of screen size news, and screen size advertising, and screen size violence, and screen size advertising bibliographies news Grabe, Maria Elizabeth Matthew Lombard Robert D. Reich Cheryl Campanella and Theresa Bolmarcich Ditton The Role of Screen Size in Viewer Experiences of Media Content 9420 Graber, Doris A. Mass Media and American Politics Washington, DC Congressional Quarterly Press
1997
This book, in its fifth edition, is a text and has no underlying thesis or argument. However, it is excellent for studying the structural relationship between the mass media and the state. Graber has chapters on media law, regulation and licensing, ownership patterns, journalistic practice, new media issues and other topics. Each section contains a discussion of the historical background and evolution of the press.
Graber engages the debate over the press’s role as policy maker. She illustrates how the government and the press are seemingly interlinked. Almost all political communication takes place in the mass media environment. Graber does not believe that there are major problems with this situation, though some abuses may occur. Her textbook style of writing seems to minimize arguments of other authors. The book is a reference for legal and historical analysis of the mass media and it is valuable for that reason.
--Rob Rabe nationalism References, Statistics, Timelines, Maps democracy and media democracy news and journalism law press nationalism and communication reference works law press, and government Graber, Doris A. Mass Media and American Politics 37390 Gradenwitz, A. The 'Telephot,' a Novel Apparatus for Photographing at Great Distances Scientific American
June 27, 1903
88 26 486 (APS Online) This article reports on a research paper presented by a Swiss naturalist, A. Vautler-Dufour, who was constructing an improved device for telephotography. Vautler-Dufour and a Geneva astronomer named Scheer, had come up with an invention that was more portable than an earlier device using a telescope. The men built "an apparatus with an objective 16 cm. in diameter and 2.40 m. in focal lenth, the latter being reduced to the third part of its value, by inserting two plane mirros between the objective and the plate. The losses by reflection of these mirrors did not exceed 5 per cent. Exposures of 10 seconds were required when yellow screens and orthochromatical plates were used, while without a screen excellent snap shots could be taken with exposures of about 1/75 sec. The total lenth of the apparatus was only 3 1/2 inches."
The article then reports that "Vautler-Dufour is now constructing an apparatus 40 cm. in length, the diameter of the objective being 0.10 cm. and the focal length 1.20 m. It is hoped to obtain good instantaneous photographs with exposures ranging between 1/200 and 1/500 sec. The same apparatus may be used to take ordinary photographs with an objective 0.25 m. in focal distance.
"The following advantages are claimed for this ingenious device, as compared with tele-objectives -- greater intensity, better definition, higher magnification, and an easier adjustment. As regards the neatness of images, the views presented before the members of congress were perfectly sharp as far as the edges of the field of view. Twelve-fold magnifications were obtained, without the apparatus ceasing to be portable."
The article devotes a paragraph to the industrial, scientific, and militay applications of this device as well as for ordinary photography.
A summary account of this article appeared under the title "The 'Telephot'," Current Literature, XXXV, No. 2 (Aug. 1903), 149. telephotography journalism fame celebrity celebrity culture magazines, and photography magazines photography photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality cameras cameras, and zoom lens zoom lens, and cameras cameras, and telephoto lens telephotographyy, and limitations modernity modernity, and photography photography, and modernity new way of seeing photography, and space and time space and time photography, and time photography, and space photography, and travel photography, and exposure time news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines newspapers, and telephotographyy telephotographyy, and newspapers telephotographyy, and exposure time photography, and exposure time military communication telephotographyy, and military military communication, and telephotographyy instantaneous photography telephotographyy, and instantaneous instantaneous photography, and telephotographyy photography, and telephot cameras, and portable color color, and telephotographyy telephotographyy, and color personality American Gradenwitz, A. The 'Telephot,' a Novel Apparatus for Photographing at Great Distances 120 Gradenwitz, Alfred Recent Developments in Picture Telegraphy Scientific American
Oct. 26, 1907
97 17 288-89 This article discusses "a system of telephotography invented by Prof. Korn, or Munich." It explains Korn's system of sending pictures and other information by telegraph wire and its value to "up-to-date illustrated newspapers and journals." (288) It says that this process "is of special importance for long-distance transmission of half-tone pictures intended for reproduction on a large scale in newspapers, illustrated journals, etc." (289) The "Cabonelle process," can transmit 300,000 to 500,000 letters per hour as well as pictures. photography telegraph photography and visual communication telegraph, and photography photography, and telegraph photography and visual communication magazines news and journalism newspapers, and photography photography, and newspapers magazines, and photography photography, and magazines Gradenwitz, Alfred Recent Developments in Picture Telegraphy 550 Graebner, William The Age of Doubt: American Thought and Culture in the 1940s Boston Twayne Publishers, a Division of G. K. Hall & Co.
1991
See also: office This work is part of Twayne’s American Thought and Culture Series (Lewis Perry, editor), and it is a useful synthesis on the 1940s. On television, Graebner writes that “even before 1950 the medium ... had raised ethical problems reminiscent of 1930s European fascism .... In short, as television was presented and interpreted in the late 1940s, the medium took on certain fascist like characteristics.” Graebner discusses such inventions as computers (e.g., anxieties over calculating machines). He also considers the reasons for America’s “culture of anxiety,” the myth of classlessness in America (in this connection, readers might wish to read about this topic in Steven Ross’s Working-Class Hollywood), and the Frankfurt School. Graebner uses films from the 1940s to document American culture. computers motion pictures computers war non-USA myth general studies television computers and the Internet motion pictures and popular culture Frankfurt School myth, of classlessness in America culture of anxiety fascism World War II culture labor computers, and values Graebner, William The Age of Doubt: American Thought and Culture in the 1940s 2650 Graff, Gordon Ceramics Take on Tough Tasks Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
179-92 Ceramics are lightweight and strong materials that can boost efficient in many electronic and mechanical devices from computer chips to diesel engines. But they have disadvantages -- they are brittle and prone to sudden failures. This piece originally appeared in High Technology Magazine (Dec. 1983). computers materials computers materials computers and the Internet general studies materials revolution electronic media ceramics engines, diesel chips, computer general studies chips, computer computer chips engines Graff, Gordon Ceramics Take on Tough Tasks 2670 Graff, Gordon High-Performance Plastics Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
203-13 According to Graff, “A new generation of tough and durable plastics is being rapidly adopted by makers of cars, computers, and food packaging. New composites created by mixing and matching existing polymers like nylon and polyester -- or combining them with ceramics, glass, or carbon fibers -- can be made stronger, lighter, and tougher than steel. The boom in optical storage discs such as CD-ROMs is boosting demand for the polycarbonate plastic from which they are made. But plastics still have to overcome prejudice and an image of cheapness....” This article originally appeared in High Technology Magazine (Oct. 1986). computers archives materials computers materials libraries libraries, and information storage information storage information storage general studies materials revolution computers and the Internet transportation automobiles plastics chips, computer polymers CD-ROMs discs, computer computers, discs information storage, and computer discs chips, computer computer chips information storage discs, optical storage optical storage discs Graff, Gordon High-Performance Plastics 1570 Graff, H. J. The Legacies of LIteracy: Continuities and Contradictions in Western Culture and Society Bloomington, IN Indiana University Press
1987
This book attempts to demonstrate, through historical analysis, that the subject of literacy and its subsequent influence on Western culture and society is not as simple and straightforward as if oft-represented in historical and critical examinations. Throughout this text, Graff demonstrates the complexities of the influence of literacy and how it is actually utilized by a culture. Literacy is often held up as a standard of technological and cultural advancement, a benchmark for each culture. Yet, Graff argues, literacy has existed for more than 5,000 years, yet its influence only took great hold when it was used properly.
Graff argues that complex African and New-World cultures have existed and prospered without the full-fledged notion of literacy. Inherent in this argument is the distinction between oral and written cultures and histories. Graff sums this argument by saying: “For certain uses of language, literacy is not only irrelevant, but it is a positive hindrance.” (2)
Ultimately, literacy can be an important and useful tool for a culture that can result in tremendous technological and cultural advancements. As Graff indicates, “whether, and to what extent, these will in fact develop depends apparently on concomitant factors of ecology, intersocietal relations, and internal ideological and social structural responses to these.” ( 2) The important consideration in any examination of the influence of literacy understanding the complexities of its influence, that it did not solely on its own have a great impact but worked in concert with other social and cultural factors. Graff closely examines the intricacies of literacy’s influence, explaining why it blossomed when it did, and detailing its journey through such European nations such as France, Germany, and England, as well as in the United States.
--Michael Boyle values print archives non-USA Boyle, Michael print culture books, periodicals, newspapers literacy print culture, and literacy values, and print culture print v. oral culture information storage values Graff, H. J. The Legacies of LIteracy: Continuities and Contradictions in Western Culture and Society 560 Graham, Stephen and Simon Marvin Telecommunications and the City: Electronic Spaces, Urban Places London and New York Routledge
1996
See also: office The authors maintain that urban studies and policy-making have failed to give telecommunication the central place it deserves. Often glib metaphors (“the virtual community,” “virtual city,” “wired city,” the “third wave”) are used to describe the changes in communications. The authors argue that such “approaches are far too simplistic,” and that “the effects of telecommunications on cities seem to be far more ambiguous and complex than many would have us believe.” The authors’ approach is interdisciplinary and international, and attempts “to avoid the pitfalls of the extremes of optimism and pessimism, or crude technological or social determinism, and of the simple recourse to some all-explaining grand metaphor.”
An informative Introduction surveys changes in telecommunications between 1981 and 1996. At the beginning of that period, “telecommunications were virtually synonymous with one service -- the basic telephone or Plain Old Telephone Service.” Since that time, “radical technological and regulatory changes has been a constant feature.” The authors outline four new types of telecommunications infrastructures that have emerged: 1) systems of wireless and mobile communications that connect computers and telephones by radio signals to telephone networks that are fixed; 2) broadband cable networks; 3) a new generation of satellite infrastructures; and 4) microwave systems. The book tries to show how such developments affect city life and urban development. The authors contend that “the end of the long post-war boom in western capitalist society has triggered a massive restructuring which has radically altered cities.” Urban areas “are being restructured from internally integrated wholes to collections of unit which operate as nodes on international, and, increasingly, global economic networks.”
The authors employ the term “telematic” to refer to infrastructures and services “which link computer and digital media equipment over telecommunications links. Telematics are providing the technological foundations for rapid innovation in computer networking and voice, data, image and video communications,” they maintain.
One result of telecommunications and telematic when combined with the relaxation of media regulation, has been “the emergence of truly global culture and media industries.”
In chapter 2, the authors show how many current ways of viewing cities are obsolete and neglect the impact of telecommunications. In chapter 3, they criticize four theoretical approaches used to consider urban-telecommunications relationships: technological determinism, futurism and utopianism, urban political economy, and “the social construction of technology.” Chapter 4 deals with urban economics. Chapter 5 treats changes in social and cultural life. Chapter 6 considers the urban environment, while chapter 7 examines urban transportation. Chapter 8 is about the physical form of urban areas, while chapter 9 deals with governing cities and urban planning. A concluding chapter attempts an overall assessment.
This book has a useful “Guide to Further Reading” for each chapter, and a good bibliography. The authors are lecturers at the University of Newcastle. technology computers space (spatial) and communication aeronautics and space communication technology and society censorship and ratings office labor communication revolution digitization law capitalism non-USA office office, and new media office virtual reality geography infrastructure general studies telecommunications Great Britain urban studies metaphors virtual communities virtual city wired city third wave telephones regulation infrastructure wireless communication mobile communication computers radio cable, broadband television, cable satellites infrastructure, and satellites microwaves global communication digital media telematics political economy communication revolution transportation space (spatial) cable computers and the Internet computers, and cities television aeronautics and space (spatial) communication digital media, and cities telematics capitalism, and new media technological determinism Graham, Stephen and Simon Marvin Telecommunications and the City: Electronic Spaces, Urban Places 2070 Grant, George Technology and Empire: Perspectives on North America Toronto House of Anasi
1969
Grant, who was Canadian and a critic of American cultural imperialism, reflects on the relationship between technology and power in North America. He notes that “we have become the heartland of the wealthiest and powerful empire that has yet been. We can exert our influence over a greater extent of the globe and take a greater tribute of wealth than any previously. Despite our limitations and miscalculations, we have more compelling means than any previous for putting the brand of our civilisation deeply into the flesh of others.” (15) He argues that “Imperially we turn out to the rest of the world bringing the apogee of what Europeans first invented, technological civilisation.” (16) On the United States, he said that it was “the only society which has not history (truly its own) from before the age of progress. English-speaking Canadians, such as myself, have despised and feared the Americans for the account of freedom in which their independence was expressed, and have resented that other traditions of the English-speaking world should have collapsed before the victory of that spirit....” (17)
Six essays appear in this volume and are entitled: “In Defence of North America”; “Religion and the State”; “Canadian Fate and Imperialism”; “Tyranny and Wisdom”; “The University Curriculum”; and “A Platitude.” In the chapter on the university curriculum, he comments on the consensus in America, that “one finds agreement between corporation executive and union members, farmer and suburbanite, cautious and radical politician, university administrator and civil servant, in that they all effectively subscribe to society’s faith in mastery.” (113) nationalism imperialism non-USA Canada political economy nationalism and communication cultural imperialism anti-Americanism Canada, and anti-Americanism capitalism, and cultural imperialism capitalism Grant, George Technology and Empire: Perspectives on North America 40110 Grant, Robert Notes on the Pan-American Exposition Cosmopolitan
Sept. 1901
31 5 451-62 In this article about the Pan-American Exposition in Buffalo, NY, in 1901, the author comments on both electricity and the use of color. Describing the illumination of the Electric Tower, Grant writes: "There is a deep silence, and all eyes are riveted on the Electric Tower. Suddenly, in the splendid vertical panel with four brooches which decorates its center, there is a faint glow of light like the first flush of sunrise from behind a moutain-peak. It mounts and spreads, at first gradually, with dignified celerity, then with a swifter effulgent pervasiveness until the entire territory of the Fair has been metamorphosed into a gorgeous vision of dazzling towers, minarets and scintillating gardens. The Spanish Renaissance scheme of color is gone, and in its stead we have a veritable fairy-land; the triumph not of Aladdin's lamp, but of the masters of modern science over the nature-god, Electricity." (454) progress electricity modernity modernity, and electricity electricity, and modernity new way of seeing electricity, and space and time space and time color electricity, and color color, and electricity color, and world fairs electricity, and world fairs color, and progress electricity, and progress progress, and electricity progress, and color color, and Pan-American Exposition electricity, and Pan-American Exposition metaphors metaphors, and Aladdin electricity, and Aladdin electricity, as nature god metaphors, and nature god Grant, Robert Notes on the Pan-American Exposition 25080 Granville, Kari Judge Asked to Overturn Film Rating System: Lawsuit: He Takes the Request under Advisement. He'll also Rule Whether "Tie Me Up!" Was Rated Fairly Los Angeles Times
June 22, 1990
F (Calendar) 10F This article deals with the lawsuit challenging the motion picture industry's X rating given to the movie Tie Me Up! Tie Me Down! (1990). Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) religion values morality freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner morality, and motion pictures motion pictures, and morality CARA, and William Kunstler Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating Tie Me Up! Tie Me Down! rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Ramos, Charles E. Heffner, Richard Granville, Kari Judge Asked to Overturn Film Rating System: Lawsuit: He Takes the Request under Advisement. He'll also Rule Whether "Tie Me Up!" Was Rated Fairly 38970 Grau, Robert Actors by Proxy The Independent
July 17, 1913
75 3372 142-44 This article notes that people can now hear and see dead actors perform. "What had been accomplished three years ago indicated that Mr. Edison's prophecy would be fulfilled; entertainment that has heretofore been possible only at a prohibitive cost will be provided for the masses, and the amazing spectacle of seeing deceased players act and hearing them speak their lines will be revealed to the forthcoming generations." (142) Grau notes that opera stars can now earn as much from their phonograph records as from performing live on stage. (143)
The article says that a major change has taken place during the past three years in the way actors regard moving pictures. "As recently as three years ago, not a single prominent player from the speaking stage was willing to make the excursions into the film studio, yet a few weeks ago the writer recognized on the screen in one photoplay four ladies and gentlemen who were last season prominent in Charles Frohman's Broadway productions, and it is an actual fact that on the Vitagraph Company's roster are today one hundred and twenty reputable players. By no means are these composed of the rank and file of the profession. Six at least have been stars, and it is extremely doubtful if one of the number would care to make a change. Yet this same Vitagraph Company, six years ago, had a stock company numbering but six persons -- and this included the three proprietors, who appeared on the screen regularly. The company now is capitalized at a million, and distributed $25,000 to its employees last Christmas." (143) Grau says theater managers and producers are turning to film. "Like the players, the men who were wont to decry the vogue of the camera man have at last recognized the modern trend and are now affiliating themselves with the film industry at every turn." (143)
Grau says that in New York City alone, ther are 100 theaters tha seat from 500 to 3,000 people that did not exist only four years earlier. About one-fifty are owned or controlled by Marcus Loew. Much of the public is attracted by the cheap prices of the movies. Yet, the article concludes, "there are those who believe that the salvation of the speaking stage will be achieved when a large portion of these millions become tired of scientific simulation of real plays and players and are enticed into the high-priced playhouse, where it is hoped the superiority of the performance on the real stage will tend to hold them fast thenceforth!" (144) history fame fame celebrity sound recording phonograph sound recording, and phonograph motion pictures Edison, Thomas Edison, Thomas, and motion pictures Edison, Thomas, and sound recording Edison, Thomas, and phonograph motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars phonograph, and celebrity culture celebrity, and phonograph phonograph, and fame fame, and phonograph personality, and phonograph phonograph, and personality history and new media history, and phonograph phonograph, and history motion pictures, and history history, and motion pictures kinetophone Edison, Thomas, and kinetophone motion pictures, and stars motion pictures, and stars (origins) Vitagraph Frohman, Charles Grau, Robert Actors by Proxy 570 Gray, Chris Hables ed. Technohistory: Using the History of American Technology in Interdisciplinary Research Malabar, FL Krieger Publishing Company
1996
Essays in the volume include: Carroll Pursell, “Introduction: Reclaiming Technology for the Humanities”; Gary Edgerton, “Digital Color Imaging and the Colorization Controversy: Culture, Technology, and the Popular as Lightning Rod”; David Hochfelder, “Electrical Communication, Language, and Self”; Roger D. Launius, “NASA Retrospect and Prospect: Space Policy in the 1950s and the 1990s.” technology National Aeronautics and Space Administration (NASA) cybernetics photography values preservation history, and new media history general studies history, and technology digital media color photography and visual communication electricity technology and society NASA space communication aeronautics and space communication artificial intelligence cyborgs, medical culture, and technology artificial intelligence and biotechnology culture cyborgs technology and society values, and technology digitization values satellites rocketry Gray, Chris Hables ed. Technohistory: Using the History of American Technology in Interdisciplinary Research 39200 Gray, David The City of Light Century Illustrated Magazine
Sept. 1901
62 5 673-85 This illustrated article discusses the Pan American Exhibition in Buffalo in 1901 and contrasts its architecture with the earlier Chicago Exposition with its lack of symmetry and scale. (676) According to the author, four things made the Buffalo exposition significant: 1) the lighting effects; 2) the "composition" (673) of the architecture; 3) the use of color; and the sculpture scheme. (673, 675)
The article begins by describing the magical transformation that takes place when the electric lights at the Exposition are turned on. "As the moment for the illumination approaches, the bands hush and a stillness falls upon the multitude. Suddenly dull reddish threads appear in the globes on the near-by lamp-pillars. A murmur of expectation runs through the crowd. For an instant the great Tower seems to pulse with a thrill of life before the eye become sensible to what has taken place. Then its surfaces gleam with a faint flush, like the flush which church spires catch from the dawn. This deepens slowly to pink, then to red. Presently the eye notes that the transformation which has been worked in the Tower has taken place everywhere. In a moment the architectural skeletons of the great buildings have been picked out in lines of red light. Then the magic current grows stronger, and the whole effect mellows into luminous yellow. The material Exposition has been transfigured, and its glorified ghost is in its place. A storm of applause arises from the crowds, the bands strike up, and one realizes that the darkness has settled down upon the City of Light." (673) Gray says that "color in the modern world has never 673/675 before been applied to an architectural creation of this magnitude and character." (673, 675)
Further commenting on the use of color on the buildings of the Exposition, Gray said that next to the display of electricity, the color scheme generated the most discussion. "The modern world is not used to the application of paint to public buildings. There has prevailed, among laymen at least, the feeling that it was undignified and possibly immoral." (684)
The color scheme adopted reflected assumption about color and levels of civilization. Quoting from the official "Art Hand-Book," by Charles Y. Turner: As one entered the Exposition "'we would come upon the elementary conditions, that is, the earliest state of man, suggested on one side, and primitive nature on the other. I concluded that the strongest primary colors should be applied here, and that as we advance up the grounds the colors should be more refined and less contrasting, and that the Tower, which is to suggest the triumph of man's achievement, should be the lightest and most delicate in color.'" (685) This, Gray explains, was "the philosophy of the color scheme. It is not for a layman to discuss it, but it is his province to say that the visiting public seems to feel the inspiriting cheerfulness of the color, and to derive a pleasure from it...." (685)
The Exposition celebrated electric lighting. "Since the world began," the author writes, "this is the first time that human eyes have beheld such floods of artificial light as the untiring cataract of Niagara generates for this Exposition." (675)
Discussing the architectural lay-out of the Exposition, Gray says that the "deliberations of the board resulted in a plan shaped like a cross." (678) The Exposition Electric Tower was something of "'an architectural skirt-dance'," and "a monument to man's dominion over the cataract of Niagara...." (682)
The author concludes by saying that words and even pictures cannot capture the Exposition. The "City of Light must be seen to be comprehended." (685) progress magic emotion censorship censorship censorship color, and electricity color color, and architecture color, in history color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and values values, and color color, and morality color, and immorality color, and sensations censorship and ratings color, and censorship censorship, and color media effects color, media effects media effects, and color electricity electricity, and color color, and electricity color, and Pan American Exposition (1901) electricity, and Pan American Exposition (1901) color, and progress progress, and color electricity, and progress progress, and electricity World's Fairs color, and magic magic, and color color, and civilization color, and primitives color, and inadequacy of language values Gray, David The City of Light 25530 Gray, Timothy M. The Movie Ratings Code: Grade It C for Confusing Chicago Sun-Times
Jan. 23, 1994
Show 1 This article deals with critics who argued that the motion picture industry's rating system was confusing for movie makers and the public. According to the author, "the ratings have become the tail that wags the dog." Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) advertising, and public relations advertising, and motion pictures censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations motion pictures law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising NC-17, and critics NC-17, and Damage Malle, Louis, critics Gray, Timothy M. The Movie Ratings Code: Grade It C for Confusing 29240 Green, Richard Testimony, before Attorney General's Commission on Pornography
Sept. 11, 1985
Sept. 11, 1985 Folder: "Houston -- 9/11/85 (Part I)," Box 2, RG 60 (Justice Dept. Records), National Archives and Records Administration (NARA 2), College Park, MD Although the Meese Commission (1985-86) skewed its witness list to those who emphasized pornography’s negative effects, it did receive some testimony from those who offered alternative views, even though their voices were in the minority. Richard Green, the founding editor of Archives of Sexual Behavior and a past president of the Society for the Scientific Study of Sex, argued that some types of sex-related crimes had decreased in Denmark and Germany as people bought more erotica. Pornography combined with masturbation, he said, provided “an outlet for anti-social sexual impulses.” He contended that erotica could be educational and therapeutic. He also criticized laboratory research that used student subjects – the kind of studies done by Edward Donnerstein and Neil Malamuth, for example – saying that it was an unreliable way to predict behavior. motion pictures and popular culture motion pictures, and pornography pornography social science research, and pornography pornography, and social science research pornography, nonviolent Meese Commission hearings media effects media effects, and nonviolent pornography children children, and pornography pornography, and children pornography, and opponents pornography, and positive effects motion pictures social science research children, and media Green, Richard Testimony, before Attorney General's Commission on Pornography 580 Greenberg, Bradley S. Mass Media in the United States in the 1980s Everett M. Rogers and Francis Balle, eds. The Media Revolution in America and in Western Europe: Volume II in the Paris-Stanford Series Norwood, NJ Ablex Publishing Corp.
1985
43-67 This essay provides a glimpse into the media environment of the typical American family during the 1980s, and into such television-related technologies as interactive cable, optical fiber, satellites, videocassette/disc units, and electronic text. This work is Volume 3 in the Paris-Stanford Series. entertainment video cassette recorders (VCRs) interactivity entertainment, home magnetic recording video cassettes fiber optics materials videotape magnetic tape materials fiber optics home, and new media home home, and information technology information technology general studies information technology and home cable interactive media optical fibers satellites VCRs video cassettes video discs electronic media home, and new media home, and VCRs home entertainment aeronautics and space communication Greenberg, Bradley S. Mass Media in the United States in the 1980s 20060 Greenberg, Bradley S. Televised Violence: Further Explorations (Overview) George A. Comstock//Eli A. Rubinstein//John P. Murray eds. Television and Social Behavior: Reports and Papers. Volume IV: Television in Day-to-Day Life: Patterns of Use: A Technical Report to the Surgeon General's Scientific Advisory Committee on Television and Social Behavior Rockville, MD National Institute of Mental Health
[1972]
1-21 Television and Social Behavior: Reports and Papers 5 See also: violence See also: sexuality This essay in the fourth volume of the 1972 Surgeon General's Report on television violence gives an overview of the research on televised violence. television, and media effects Surgeon General social science research media effects media violence media effects censorship and ratings children television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures Surgeon General's Report (1972) television, and Surgeon General's Report (1972) violence children, and TV violence media effects, and television media effects, and TV violence (synthesis) Greenberg, Bradley S. Televised Violence: Further Explorations (Overview) 33420 Greenberg, Joshua Mark From Betamax to Blockbuster: Mediation in the Consumption Junction Ithaca, N. Y. Cornell University
2004
Abstract for this doctoral dissertation from UMI ProQuest Digital Dissertations: "The consumer videocassette recorder (VCR) was first introduced in the United States as a timeshifting device for recording and playing back broadcast television, but within a decade this use was overshadowed by the wildly popular rental and sale of motion pictures on video. This dissertation charts the invention and establishment of this alternate technological frame, describing how a technology that was originally intended as a peripheral to broadcast television was reconstructed as a 'movie machine.' The argument has two main thrusts: first, that because the information being mediated by a communication technology is an integral part of its technological frame, this new understanding of the VCR required the production of new knowledge not just about the nature of the machine but also about the movies that it played; and second, that this new knowledge was mainly produced not by the manufacturers of movies and VCRs nor by their end-users, but rather by the mediators who occupied the space between them. As retailers, distributors, clerks and other mediators built a new consumption junction between Hollywood studios, hardware manufacturers and consumers, they quite literally built a new cultural institution, the 'video store,' that was a physical manifestation of their new technological frame for the VCR." video cassette recorders (VCRs) television motion pictures VCRs magnetic recording video stores Blockbuster Video Betamax motion pictures, and VCRs television, and VCRs videotape magnetic recording, and VCRs audiences motion pictures, and audiences audiences, and motion pictures audiences, and VCRs VCRs, and audiences video rentals magnetic tape Greenberg, Joshua Mark From Betamax to Blockbuster: Mediation in the Consumption Junction 25570 Greene, Jay Censors Ambush Wild Bunch Chicago Sun-Times
Oct. 2, 1994
Show 2 This article is about the re-rating of Sam Peckinpah's 1969 film The Wild Bunch. Some historians considered that film to have been significant in raising the level of violence in movies. The Wild Bunch had originally been rated R in 1969 after Peckinpah reportedly cut six minutes to avoid being given an X. Warner Bros. planned a twentieth-fifth anniversary restored version of The Wild Bunch that would be shown in theaters in 1994 and was timed to coincide with the release of a new laser-disc version. The question of re-rating the new version came shortly before Richard D. Heffner retired from the Classification and Rating Administration. Heffner suspected that Warner Bros. intended to use the deleted violent scenes, and, given that the rating board was now more sensitive to violence than it had been in 1969, it seemed likely that CARA would give the new version an NC-17. The matter stewed until after Heffner retired. Under Heffner’s successor, Richard Mosk, CARA initially rated the new edition of The Wild Bunch NC-17, but studio executives pressed Valenti who pushed for a more lenient rating. CARA, after being assured that the new director’s cut would be the same as the original film, re-issued the R. telephotography Classification and Rating Administration classification video cassette recorders (VCRs) self-regulation Classification and Rating Administration (CARA) magnetic recording photography video censorship and ratings rating system (U.S.) rating system (U. S.) media effects media violence Hollywood magnetic tape law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures violence motion pictures, and violence motion pictures, and crime motion pictures, and crime motion pictures, and special effects motion pictures, and special effects motion pictures, and violence violence, and special effects special effects special effects, and violence Hollywood, and new technology cameras photography and visual communication cameras, and telephoto lenses telephoto lenses special effects, and squibs Peckinpah, Sam, rating system (U. S.), and controversies CARA, and re-rating controversies Mosk, Richard CARA, and Richard Mosk television television, and motion pictures video, and Wild Bunch videotape VCRs Peckinpah, Sam Greene, Jay Censors Ambush Wild Bunch 19840 Greenfield, Jeff 'The Open Mind': A Talk Show With Real Talk Los Angeles Times
April 24, 1978
This piece deals with the public television program, "The Open Mind," hosted by Richard D. Heffner. The program had started in 1956, and was devoted to interviewing leading intellectuals and political leaders on the issues of the day. Heffner, a professor at Rutgers University, was also then head of the motion picture industry's Classification and Rating Administration. A clipping of this article is in the Richard D. Heffner's Personal Papers, Private Collection, New York, NY. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship motion pictures and popular culture motion pictures motion pictures, and Richard Heffner CARA CARA, and Richard Heffner Valenti, Jack Heffner, Richard, and CARA censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and background Heffner, Richard, and Jack Valenti Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Greenfield, Jeff 'The Open Mind': A Talk Show With Real Talk 26040 Greenman, Catherine The V-Chip Arrives With a Thud: Program-Blocking Device Is in TV’s, but Few Consumers Are Aware of It New York Times
Nov. 4, 1999
D D1, D8 The article notes that although the V-chip was required by law to be installed in new television sets, few parents used it and the entertainment industry did little to promote it. The V-chip was designed to allow parents to block violent or other kinds of entertainment that thought to be inappropriate for their children. It appeared to have little impact on the way consumers watched television. “We’re very supportive of it, but there’s very little real media information about it,” said the president of the National P.T.A in late 1999. “There’s a huge percentage of the population that’s unaware that it’s even available, and unless a family’s in the market for a new TV, it’s not on their radar.” By July, 2001, about 40 percent of American families had at least one TV set with a V-chip but one survey suggested that even though parents remained worried about the levels of violence and sex on television, only about seven percent of them used this technology. More than a fifth of set owners did not even know they had the chip. Motion Picture Association of America (MPAA) entertainment classification MPAA self-regulation government hearings Federal Communications Commission (FCC) entertainment, home Clinton, William Jefferson CARA V-chip, and television violence television, and parents telecommunications presidents, and new media censorship and ratings rating system (U.S.) rating system (U. S.) PTA motion pictures home entertainment government regulation Clinton Administration law regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification Gore, Al home, and new media home home television motion pictures and popular culture Valenti, Jack Valenti, Jack, and TV rating system (U.S.) rating system (U. S.), and TV (1997) V-chip television, and rating system (U. S.) television, and V-chip home entertainment revolution home entertainment, and V-chip television, and PTA PTA, and television television, and critics rating system (U. S.), and critics hearings new media Collings, Tim V-chip, and Tim Collings Telecommunications Act (1996) regulation, and television Valenti, Jack, and television television, and Jack Valenti Clinton, Bill Clinton, Bill, and TV rating system (U. S.) Clinton administration, and TV rating system (U. S.) Gore, Al, and TV rating system (U. S.) McCain, John, and TV rating system (U. S.) Lieberman, Joseph, and TV rating system (U. S.) FCC FCC, and TV rating system (U. S.) Markey, Ed, and V-chip V-chip, and public reception violence Greenman, Catherine The V-Chip Arrives With a Thud: Program-Blocking Device Is in TV’s, but Few Consumers Are Aware of It 40060 Gregory, Carl Louis Motion Picture Photography New York Falk Publishing Company
1927
Chapter 24 in this book (334-45) "Colored, Stereoscopic and Talking Motion Pictures," has an essay written by L. T. Troland (of the Technicolor Motion Picture Corporation) entitled "The Technicolor Process" (336-44). Troland, who one of the inventors of this process, also taught psychology at Harvard University. Here he discusses Technicolor, the camera used, the method of exposing and then finishing the negative, the Technicolor positive, the manufacturing of Technicolor's single-coated postive, and the projector and lighting needed to show the film. Troland says that the Technicolor camera "differs from the black and white camera in certain details of its mechanism, particularly in the fact that the film is pulled two picture frames instead of one for each stroke of the shuttle." (338)
In the final pages of this chapter (344-45), Gregory discusses 16mm film, 3D film, sound movies, and sending motion pictures over the radio (an early vision of television, perhaps). Technicolor, and Leonard Troland color media effects motion pictures motion pictures, and color motion pictures, and media effects motion pictures, and talking movies sound recording motion pictures, and 3-D 3-D, and motion pictures color, and motion pictures color, and media effects media effects, and color media effects, and talking movies sexuality, and color color, and Technicolor Technicolor, and color Technicolor, and two-color process Technicolor, and three-color process Technicolor, and L. T. Troland Troland, Leonard, and Technicolor Technicolor cameras cameras, and Technicolor lighting lighting, and Technicolor Technicolor, and cameras Technicolor, and lighting 16mm film motion pictures, and 16mm 16mm, and motion pictures color, and L.T. Troland Troland, Leonard Troland, Leonard, and color 16mm 3-D Gregory, Carl Louis Motion Picture Photography 2620 Gregory, Gene New Materials Technology in Japan Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
119-40 In 1981, Japan began a major research and development initiative in new materials, which they believed would be on the same level as biotechnology and microelectronics. At the time of this article, the author maintained that “Japan already dominates world production of carbon-fiber-reinforced plastics and holds a commanding position in high-performance engineering plastics, polymer membrane materials, and amorphous alloys.” Gregory also argued that Japan was also ready “to take the lead in perhaps the single most important area of new materials technology -- fine ceramics,” thus reducing that nation’s need to import basic materials. The United States, he believed, had squandered its opportunities and Japan would be the “world’s greatest economic power in the last decade of the twentieth century.” This article originally appeared in The International Journal of Materials and Product Technology, Vol. 2 (no. 1, 1987). R & D computers nationalism military communication materials future and science fiction non-USA research and development materials computers and the Internet materials revolution Japan ceramics plastics alloys nationalism and communication research and development, and Japan Japan, and research and development nationalism, and materials revolution Japan, and materials revolution future, and Japan future Gregory, Gene New Materials Technology in Japan 1910 Gregory, Stanley Railways and Life in Britain London Ginn and Company, Ltd.
1969
A general overview of railway history from 1830 to 1960. This book considers both business aspects and social impacts. Though detailed in some cases, the work tends toward anecdotal evidence interspersed with commentary from contemporaries. Directed more towards a popular audience, the author does not footnote or name sources.
--Nicholas Wolf non-USA Wolf, Nicholas Great Britain transportation railroads Great Britain, and railroads railroads, and Great Britain Gregory, Stanley Railways and Life in Britain 33080 Grenier, Richard When It Comes to Movies, the World Looks to America New York Times
Sept. 22, 1985
2 27 This article explains that Hollywood films dominated most European theaters in 1985. Motion Picture Association of America (MPAA) MPAA nationalism motion pictures nationalism and communication capitalism motion pictures, and capitalism motion pictures, and Europe non-USA motion pictures, and nationalism motion pictures, and Europe Valenti, Jack Valenti, Jack, and foreign markets Grenier, Richard When It Comes to Movies, the World Looks to America 42210 Gribayedoff Dead Noted Illustrator New York Times
Feb. 17, 1908
7 This article recounts the career of the noted illustrator, Valeian Gribayedoff. Gribayedoff was born in Russia, educated in England, and worked in the United States as an illustrator until the late 1890s. He died in Paris. He also took the only photographs as the re-trial of Captain Alfred Dreyfus. This article says that Gribayedoff was "the originator of newspaper illustration in New York." He worked in New York for several years. Among the subjects of his drawing were Charles A. Dana and William Jennings Bryan. Gribayedoff's work appeared mainly in weekly and monthly magazines and his work was especially prominent in Leslie's Weekly. wood engraving journalism journalism celebrity celebrity culture magazines, and photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving critics critics, and pictorial journalism newspapers, and outline illustrations illustrations, and newspapers newspapers, and artists art, and newspapers photography, and art photography, and American Press Association celebrity culture celebrity culture, and origins celebrity culture, and newspapers newspapers, and celebrity culture women photography, and women newspapers, and women sexuality sexuality, and newspaper illustrations home and new media home, and newspaper illustrations advertising and public relations advertising, and newspaper illustrations journalism, and artists critics critics, and newspaper pictures Gribayedoff, Valerian Gribayedoff, Valerian, and newspaper illustration Gribayedoff, Valerian, and obituary Gribayedoff, Valerian, and illustration advertising art home illustrations magazines photography Noted Illustrator New York Times 37890 Gribayédoff, Valerian Pictorial Journalism Cosmopolitan
Aug. 1891
11 4 471-81 This article argues that "when one considers the prominence of outline illustration in the make-up of a modern newspaper, and the short space of time that has been required to popularize it, it is not going too far to characterize this innovation as a veritable journalistic revolution." (471) A decade earlier, the author says, only the New York Daily Graphic and the New York Truth were the only newspapers to indulge in "any form of illustration." Now, in 1891, Gribayedoff estimates that there are 5,000 illustrated periodicals in the United States. More than 1,000 artists were then supplying the press with 10,000 drawings each week. (472) It is difficult to pinpoint exactly when newspaper started using illustrations. The New York Herald used woodcuts of the old Merchants' exchange. Other papers also used them including the New York Sun, New York Telegram, and the Pittsburgh Telegraph. Theater owners used stock illustrations and political caricatures were also commonly used.
Gribayedoff, an illustrator who worked for Colonel John L. Cockerill on the New York World, believed that "the great boom in daily newspaper illustration" started when he helped produced caricatures of the "Wall Street Nobility" on the from page of the New York World on February 3, 1884. (474) Other paper began using similar images of "local celebrities." (475) The American Press Association, which supplied rural and small-town papers with stereotyped plates, also played a roll in the newspaper illustration boom. (475) S. H. Horgan estimated that it supplied perhaps 7,000 papers with all manner of material except local news. (476)
The author notes that in an earlier period there was a significant time lag in getting images published. "Engravers still needed at least forty-eight hours to manipulate their 'soft metal process,' involving the photographing of the drawing, the printing from the negative, the soaking of the gelatin, the casting of a plaster mould, the stereotyping, the routing, the blocking and the trimming or finishing of the cuts, so that by the time murderer and victim appeared in bold outline in the news columns the crime itself had became a feeble memory." (474) Gribayedoff also discusses Horgan's use of the photolithographic process on the New York Graphic. (475-76) The process used zinc etching and was much faster enabling papers to receive images within four hours. The greater speed gave further impetus to the use of newspaper illustrations. Horgan and other noted that papers that used illustrations were more popular with readers than those that did not. As Horgan put it, it was discovered "'that matter without the accompaniment of cuts does not take half as well as when illustrated.'" (476)
As the popularity of newspaper illustrations increased, publications moved away from using caricatures of men and started using images of women more frequently. There were protests to this development and the Assistant District Attorney general in New York even threaten to indict Joseph Pulitzer for criminal libel. "The protest was grounded less on the basis of the distortion of fair features than on the argument that the privacy and sanctity of American homes had been ruthlessly invaded and forced into the garish glare of vulgar publicity." (477) This view, the author says "seems most amusing" in views of subsequent developments where women sought to have their images on the society page of newspapers. (477)
Gribayedoff says that "the feature of daily newspaper illustration that has impressed me most is its development of a form of vanity in this country which, it is true, had existed in a less rampant degree for many years previous. I allude to the desire of the average American for seeing his portrait in print." (478) He observes that such public publicity is no longer reserved merely for the wealthy but is increasing available to the average person. The use of "mugs" by newspapers -- a "vulgar but descriptive" in his opinion, was not confined to large urban papers but more and more common in rural publications and indeed, in all parts of the country. (479) The press in western towns now widely use illustration. "The St. Louis papers, following the example of the Post-Dispatch, have, almost without a single exception, come to illustration." (481) Newspaper advertising was also a place were images of people were often used. (479)
Gribayedoff says that the use of quality artists (e.g., Baron C. de Grimm) by newspapers "marks a distinct epoch in American pictorial journalism." (480) wood engraving journalism journalism celebrity celebrity culture magazines, and photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving photo engraving photo engraving, and newspapers newspapers, and photo engraving critics critics, and pictorial journalism newspapers, and outline illustrations illustrations, and newspapers newspapers, and artists art, and newspapers American Press Assocation photography, and art photography, and American Press Association celebrity culture celebrity culture, and origins celebrity culture, and newspapers newspapers, and celebrity culture women photography, and women newspapers, and women sexuality sexuality, and newspaper illustrations home and new media home, and newspaper illustrations advertising and public relations advertising, and newspaper illustrations journalism, and artists critics critics, and newspaper pictures advertising art home illustrations magazines photography Gribayédoff, Valerian Pictorial Journalism 41610 Grieveson, Lee Policing Cinema: Movies and Censorship in Early Twentieth-Century America Berkeley University of California Press
2004
Lee Grieveson’s book Policing Cinema deals with the policing of the American movie industry by the government, both local and state, between 1906 to 1917. Grieveson places the efforts of reformers to control motion picture content within the larger contexts of the time. The early part of the 20th century was, of course, a time of greater regulation by government of the American economy and later life. The Progressives of the time helped break trusts, create food and workplace safety laws among actions. They believed that the government had a role in promoting good morals and positive lifestyles. Movies, and specifically nickelodeons, were viewed with concern by the moral and political leaders for their possible corruptive effect on the lower classes in American society. Anxieties about race, class and gender also played an important role in leaders’ concerns about the movies and their influence on the people of America. Legal cases and legislative acts are among the important sources Grieveson used.
--Ryder Kouba

 Among the films Grieveson discusses are James Boys in Missouri (Essanay, 1908) and Night Riders (Kalem, 1908). At issue was what constituted obscenity and immorality, and also what portrayal of history might be consider immoral. The lawyers who fought these charges maintained that movies were depictions of the "American historical experience" and thus could not be censored as immoral or obscene.
Grieveson writes of the case involving these films:
"Chief Justice James H. Cartwright dismissed these claims in the Illinois Supreme Court in early 1909. It was the purpose of the law, Justice Cartwright asserted, 'to secure decency and morality in the moving pictures business, and that purpose falls within the police power.' Notions of 'decency,' 'immorality,' and 'obscenity' were central to this power, and although it is 'doubtless true,' Cartwright noted, that there are differences as to what is immoral and obscene, 'the average person of healthy and wholesome mind knows well enough what "immoral" and "obscene" mean and can intelligently apply the test to any picture presented to him.' Cartwright's logic assumed a universal subject of moral judgment.
"Even though the ordinance focused solely on moving pictures, Cartwright noted, it did not necessarily license other immoral representations; furthermore, there is something specific to the regulation of moving pictures -- 74/75 the audience. 'On account of the low price of admissions,' Cartwright claimed, nickel theaters 'are frequented and patronized by a large number of children, as well as by those of limited means who do not attend the productions of plays and dramas given in the regular theaters. The audiences include those classes whose age, education and situation in life especially entitle them to protection against the evil influence of obscene and immoral representations.' He thus concluded that exhibition of the pictures 'would necessarily be attended with evil effects upon youthful spectators.' A concern about the effects of moving pictures on children and those rather enigmatically characterized as 'of limited means' that had animated the development of reform concern in early 1907 and led to the establishment of the police censor board was central also to the establishment of the board's constitutionality. Discourse creates institutions that come, in turn, to sustain those discourses. Important precedents were set here, paving the way for the proliferation of municipal and state censor boards from this moment on.
"Responding also to the claim that the films depicted 'experiences connected with the history of the country,' Cartwright suggested that it did not follow that they were 'not immoral' since they 'necessarily portray exhibitions of crime.' Representations of history in moving pictures -- at least if they portray 'crime,' that central motor force of history -- could be immoral and obscene and could thus have damaging effects on those of 'limited means' and on the children of an urban immigrant population who were seen to be the most frequent moviegoers. Of course, the representation of the history of the United States -- or, for that matter, the immorality of elites -- to those groups had critical ideological import The representation of criminal events in moving pictures was of a different order from their depiction on the stage. For Justice Cartwright clear distinctions needed to be drawn between moving pictures and historical and theatrical accounts. Even though it is almost certain that the two films under consideration -- like The Unwritten Law -- replayed historical actuality through fictional conventions, that they were only retrospectively discursively positioned as straightforward representations of historical actuality, the decision took that positioning at its word and disallowed it."
"Untangling the complicated layers of this case is important to our understanding of the interaction between regulatory forces and the film industry at this moment. Allying cinema on the one hand with the theater and on the other with nonfictional discourse -- the at least ostensibly nonfictional discourse of history -- seemed to offer a way for Block to circumvent the powers of the police censor board. Yet these alliances were de- 75/76 nied by the state Supreme Court amid fears about the effects of films on audiences. Film was, this suggested, distinct from the theater and from history and uniquely a target for regulatory concern principally because it could have damaging effects on vulnerable (and potentially dangerous) audiences. The audience base for cinema meant that it could not simply represent controversial real-life events. Cartwright's concerns can be situated clearly in the context of the anxieties about 'sensational' films such as The Unwritten Law and the effect of moving pictures and nickel theaters on children, and indeed on those of 'limited means,' that emerged so forcefully in early 1907. Legal discourse is a cultural text, evidently enmeshed with the shared knowledge of the culture traced out in this chapter." (Grieveson, Policing Cinema, 74-76)
--SV censorship and ratings censorship, and Chicago Chicago, and movie censorship motion pictures motion pictures, and censorship censorship, and motion pictures theaters, and motion pictures theaters theaters, and audiences children and media children, and motion pictures motion pictures, and children theaters, and children children, and theaters values values, and motion pictures motion pictures, and values race, and motion pictures motion pictures, and race motion pictures, and Chicago motion pictures, and Chicago censorship motion pictures, and Block v. Chicago Block v. City of Chicago case (1909) censorship, and Block v. Chicago censorship, and Mutual case motion pictures, and Mutual case Kouba, Ryder James Boys in Missouri (1908) Night Riders (1908) censorship Chicago, and movie censorship children race Grieveson, Lee Policing Cinema: Movies and Censorship in Early Twentieth-Century America 370 Griffin, Henry Farrand White Magic Outlook
Oct. 25, 1913
401-11 This article examines the practical impact of electricity on American life, especially during the previous quarter century. The author contends that electricity is well beyond its infancy and "that this electrical revolution has come about so swiftly and quietly that few of us realize how much it had done to make our lives easier, more convenient, and more comfortable. Still less do we realize the significance of these changes and what they promise for us and future generations." (401) Griffin gives figures on the size of the electrical industry in 1913. "All modern life and industry is, in fact, becoming either directly or indirectly dependent upon electrical power," he writes. (401) Already it "operates the machinery of our factories and mills; drives trains, trolley cars, and automobiles; prints our books magazines, newspapers, stamps, and money; lights our streets and building; carries our voices by telephone, telegraph, and wireless to the uttermost ends of the earth." (401)
Griffin begins by recalled the genie discovered by the fisherman in the "Arabian Nights." "If you want to experience a little of the awe that must have possessed this fisherman of old, go stand in one of the great Niagara power-houses, where the elemental forces of nature are wrestled from chaotic torrents of water, reduced into submission by Brobdingnagian machinery, and dispatched, like tamed thunderbolts, over hundreds of miles of copper wire to serve the myriad needs of populous cities and wide countryside.
"No romance in modern life and industry? We need but eyes to see, but ears to hear. In very truth the fabled genie of the copper jar is not one-half so wonderful as the uncannily invisible magician, electricity, that we have subdued and made captive in filaments of copper to do our bidding, instant and obedient, where and when we will." (401)
Griffith notes that this "mighty genie" (402) remains mysterious to most people and that electricity has become the domain of experts. "It is unfortunate but true that the general public has never gained much accurate knowledge of electrical inventions, history, or development. Electrical literature has been very largely confined to technical journals and text-books, and what little has been written in a so-called popular style has usually been fantastically inaccurate." (403) As an engineering professor at Columbia University is quoted as saying, the "electrical apparatus usually appears either very striking or else mysteriously incomprehensible to the average man." (403) This professor, Francis B. Crocker, talks about the role of electricity in the news about the sinking of the Titanic. The public "read with avidity the story of the Titanic in their newspapers," he said, "but forget that these very newspapers were made from wood pulp and printed by electric power in quite as marvelous a way as that by which the wireless message is received out of the mists of the sea." (404)
The article discusses early misconceptions about electricity. Griffin says that "almost nothing is done in modern life and industry as it was done twenty-five years ago," and he wonders if President Woodrow Wilson was fully aware of that fact. (404) Griffin also notes how this "invisible genie" affects the working place and home life. (405) He predicts that people will soon be able to buy "an electric motor just as you would a camera or a carpet-sweeper." (406) He concludes that electricity has already brought "far-reaching" changes and suggests that even more fundamental changes may be produced in the future. (411) magazines metaphors electricity home and new media news and journalism electricity, and newspapers electricity, and books newspapers, and electricity magazines, and electricity book, and electricity electricity, as Aladdin's genie news, and electricity electricity, and news electricity, and metaphors metaphors, and electricity metaphors, and Aladdin metaphors, and white magic home news Griffin, Henry Farrand White Magic 22590 Griffin, Susan Pornography and Silence: Culture's Revenge Against Nature New York Harper & Row
c1981
This book was one of several feminists works during the late 1970s an early 1980s that denounced pornography in motion pictures and other mass media. women, and new media sexuality motion pictures women feminism law censorship and ratings motion pictures and popular culture pornography women feminists women, and pornography feminists, and pornography pornography, and women pornography, and feminists censorship censorship, and pornography pornography, and censorship feminists, and censorship censorship, and feminists Griffin, Susan Pornography and Silence: Culture's Revenge Against Nature 6440 Griffith, David Wark The Motion Picture and Witch Burners Chicago Daily Tribune
May 26, 1915
14 D. W. Griffith says that “I think it is generally agreed that the motion picture is at least on a par with the spoken and written word as a mode of expression.” He denounces the “witch burners, who burn through the censorship of the motion pictures today.” He says that “The greatest field which the motion picture has is the treating of historic subjects; as a great man has said of a certain motion picture: ‘It is like teaching history by lightning.’” history censorship words vs. images metaphors Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words war motion pictures, and war war, and motion pictures motion pictures, and printing press motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings Griffith, D. W., and censorship censorship, and D. W. Griffith images vs. words motion pictures, and new art form motion pictures, and teaching history by lightning Griffith, D. W., and teaching history by lightning Griffith, D. W., and Birth of a Nation motion pictures, as lightning flash Griffith, David Wark The Motion Picture and Witch Burners 41970 Griffith, David Wark Pictures vs. One-Night Stands The Independent
Dec. 11, 1916
88 3549 447-48 D. W. Griffith discusses the differences between the live theaters and moving pictures. It notes that many people living in small communities were "starved spiritually" (447) and that they traveling acting groups often had to work under very meager circumstances. But, he says, Science (which included moving pictures) came "to the rescue of these typical Americans in the small places. (447) He says that "Already the motion picture is the world's chief form of entertainment, the greatest spiritual force the world has ever known." (447) By then, Griffith says, movies were the fifth larges industry in America. (448) Where actors on the live stage even under good circumstances might reach a thousand people with each performance, Griffith notes that Birth of a Nation played to full houses all over the United States on the same evening. (448) More people watch a single film in the state of Illinois and in the South in one month than see all of the traveling acting companies from New York City in fourteen months. (448)
Griffith discusses differences in acting on the stage and in film, and notes that only two year earlier "hardly any real actor" depended on motion pictures. (448) That had changed by 1916.
Griffith comments on progress in making color films. Thanks to the work of "six or seven scientists," the movie camera has been "perfected so that, without tinting, without limitation or liability to error such as prevailed in the only color pictures ever employed, pictures may be taken without considerable additional cost and with all the colors of the universe." (448) stage history censorship words vs. images metaphors Griffith, D. W. history and new media motion pictures, and history history, and motion pictures images vs. words war motion pictures, and war war, and motion pictures motion pictures, and printing press motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings Griffith, D. W., and censorship censorship, and D. W. Griffith images vs. words motion pictures, and new art form motion pictures, and teaching history by lightning Griffith, D. W., and Birth of a Nation Griffith, D. W., and Intolerance audiences audiences, and motion pictures motion pictures, and audiences motion pictures, as spiritual force education education, and motion pictures motion pictures, and education stage and theater motion pictures, and stage motion pictures, as fifth larges industry color color, and motion pictures motion pictures, and color Griffith, David Wark Pictures vs. One-Night Stands 990 Griffith, Robert The Selling of America: The Advertising Council and American Politics Harvard Business Review
Autumn 1983
57 3 388-412 See also: office Griffith outlines how American business interests became involved in an unprecedented advertising and public relations campaign to bolster its image during and after World War II. With a lack of consumer products due to war conditions, advertising executives who formed the Advertising Council sought to convince business leaders to purchase advertising to improve the public perception of business following the Great Depression. Early during the war years, the advertising industry was helped by a federal ruling that allowed corporations to deduct the expense of institutional and public service advertising. After the war, Griffith argued, industry executives, worried about the growing role of the federal government and the gains made by labor unions, set out in a campaign to bolster the image of business and win public opinion for a corporate state. “Following World War II, they set out to achieve these goals in a fairly purposeful and self-conscious manner, spending enormous sums of money not only on lobbying and campaign financing, but also on a wide variety of public relations activities institutional advertising, philanthropy, the sponsorship of research, and industrial and community relations.” Griffith outlines the origins of these campaigns during the war and describes several of the post-war campaigns, such as Our American Heritage, in detail. He concludes that there is no measure of whether such an unprecedented campaign to influence public opinion was successful. However, it would be a “serious mistake to underestimate the impact of the Council, if for no other reason than the frequency and ubiquity with which its advertisements appeared and the zeal with which its leaders sought to publicize their highly selective views of American society.”
--Phil Glende advertising, and public relations propaganda public relations public relations advertising war military communication Glende, Phil labor advertising propaganda advertising, and labor labor, and advertising propaganda, and labor labor, and propaganda (WWII) World War II World War II, and advertising advertising, and World War II labor, and World War II World War II, and labor Griffith, Robert The Selling of America: The Advertising Council and American Politics 38090 Griffith, Walter W. The Wonders of Magnified Sound McClure's Magazine
Oct. 1909
33 6 17-18 The author begins by saying that there appears "to be no limit" (17) to the way electricity is benefiting mankind and that sound recording is not exception. The "Acousticon" is a device in which "there is no need to speak directly into the transmitter, as it gathers the sound from the air for itself." (17) A Acousticon Transmitter was recently installed in Washington, D. C. in Speaker Cannon's office. (The Saturday Evening Post, Oct. 12, 1907, describes the installation.) This "highly sensitized microphone... magnifies sound so greatly that the feeblest of sound waves are transmitted through wires to a considerable distance, yet are distinctly audible at the other end throughout the room." (17)
One advantage of this invention will be for the hard of hearing, or as the author says, "it makes the deaf to hear. It not only amplifies, or magnifies [emphasis in original text] the sound 400 per cent., but it clarifies and accentuates the articulation." (18) The article says that "hundreds of churches and public halls are now equipped with the Acousticon...." and that "it is bringing happiness to multitudes of deaf people throughout the world-- some of them in the houses of royalty." (18) electricity electricity, and sound recording sound recording, and electricity microphones microphones, and sound recording sound recording, and microphones microphones, and sound magnification electricity, and microphones microphones, and Acousticon Transmitter Acousticon Transmitter sound recording, and Acousticon Transmitter telephones telephones, and Acousticon Transmitter sound recording, and hearing impaired microphones, and hearing impaired sound recording Griffith, Walter W. The Wonders of Magnified Sound 34120 Griffiths, Alison Media Technology and Museum Display: A Century of Accommodation and Conflict David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
375-89 The article notes that "since the mid-1980s, electronic media have assumed an ever-greater presence in museums of science, technology, natural history, and art." (375) The presence of digital media have "provoked a sustained and sharp debate within museum circles." (376)
Griffiths's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. history and new media digital media digital media, and museum museums, and digital media museums, and electronic media history museums Griffiths, Alison Media Technology and Museum Display: A Century of Accommodation and Conflict 7620 Griffiths, John Spaceflight Ian McNeil, ed. An Encyclopedia of the History of Technology London and New York Routledge
1990
648-62 This piece provides a useful overview. R & D USSR science research and development war future and science fiction war non-USA space communication reconnaissance aeronautics and space communication satellites Space Shuttle Sputnik Cold War Soviet Union reconnaissance, satellite satellites, and reconnaissance rocketry space travel science fiction future military communication Griffiths, John Spaceflight 25450 Grimes, William Reviewing the NC-17 Film Rating: Clear Guide or an X by a New Name? New York Times
Nov. 30, 1992
C 11C This article notes that the NC-17 rating has been given to five films during the last four months. They are Damage (1992), The Lover (1992), Body of Evidence (1993), Bad Lieutenant (1992), and The Wide Sargasso Sea (1993). The article asks question about the criteria used in rating these movies and how useful such rating are to the public. Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality homosexuality Classification and Rating Administration (CARA) sexuality women, and new media advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising press motion pictures media effects media violence lesbianism gays women feminism law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence motion pictures, and lesbianism public relations public relations, and motion pictures public relations, and Basic Instinct (1992) motion pictures, and sex motion pictures, and lesbianism motion pictures, and violence violence violence, and motion pictures sex, and motion pictures lesbianism, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising Douglas, Michael motion pictures, and bad press coverage press, and poor movie coverage Verhoeven, Paul Eszterhas, Joe Stone, Sharon feminists feminists, and motion pictures gays, and motion pictures Jay Leno Show Basic Instinct (1992) NC-17, and critics, Damage Grimes, William Reviewing the NC-17 Film Rating: Clear Guide or an X by a New Name? 11130 Grimshaw, Robert Fifty Years Hence: What May Be in 1943: A Prophecy Supposed to be Based on Scientific Deductions by an Improved Graphical Method New York Practical Publishing Co.
1892
This work speculates on what life might be like a half century in the future. Grimshaw wrote that "in the houses of the wealthy, and in the clubs, the opera is 'wired on,' just as hot and cold water, warm and cold air, electricity, and other conveniences are in the same way 'laid on.' In fact, the celebrated preachers are heard by those who prefer to stay at home; every one may sit in his or her chair and get the utterances of the most distinguished orators as well as of the most celebrated singers and musicians." entertainment entertainment, home future and science fiction values home, and new media home home, and information technology information technology future radio information technology, and home home, and new media home entertainment religion, and new media religion Grimshaw, Robert Fifty Years Hence: What May Be in 1943: A Prophecy Supposed to be Based on Scientific Deductions by an Improved Graphical Method 37430 Grimshaw, Robert Korn's Photographic Fac-Simile Telegraph Scientific American
Feb. 16, 1907
96 7 148 This article is based on an interview with Arthur Korn of Munich, identified as "the inventor of one of the latest systems of electro-telephotography, or of reproducing electrically, at a distance, photographic images." It notes that as early as 1901, Korn had succeeded with experiments that transmitted "electrically to a distance, simple figures and signs, by means of especially-constructed sending and receiving apparatus." The transmission time for sending these images had been shortened from about 15 minutes in the earlier experiments to about 6 to 12 minutes.
The article notes that the press in Paris and London have been interested in this invention and have already made arrangements to use it. In spring, 1907, the apparatus will also be installed in Berlin and in another city as some distance from Berlin.
"The professor exhibited two pictures, one of the German Kaiser and one of himself, that at a distance of a yard were hardly to be distinguished from ordinary photographs, and which, the professor stated, had been transmitted through a resistance corresponding to 1,800 kilometers, about 1,080 miles.
"As regards the practical utilization of the invention, the professor stated that its application for purposes of crime detection would prove of the greatest value. The illustrated press has also naturally shown a great interest in the invention, and some of the European publishers have already made arrangements to use it. L'Illustration of Paris has purchased the sole rights for France up to July 1, 1909, after which these rights will revert to the inventor. That journal has the right to install sending apparatus in every country, and a receiver in Paris. The apparatus may be made by French manufacturers. For Germany the inventor has reserved all rights, and the apparatus will be made by a German firm. English journals show special interest in the matter, and both the Daily Mail and the Illustrated London News have taken steps toward the purchase of the English rights, but up to date the inventor has closed no contracts with them, in the expectation that an international company will shortly be formed....
"In the spring there will be installed in Berlin and in some other important city, at a considerable distance therefrom, the apparatus for demonstrating on an actual working scale not merely the possibilities but the absolute practicability of the invention." journalism future magazines, and photography facsimile magazines photography electricity theaters electricity, and theaters electricity, and photography photography, and electricity photography and visual communication motion pictures electricity, and motion pictures motion pictures, and electricity news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines television telegraph photography and visual communication telegraph, and photography photography, and telegraph future and science fiction telephotography Korn, Arthur, and telephotography seeing at a distance modernity modernity, and photography photography, and modernity non-USA Germany Germany, and photography by wire Germany, and telegraph telegraph, and Germany facsimile, and telegraph telegraph, and facsimile duplicating technologies postal service postal service, and facsimile facsimile, and postal service postal service, and telegraph telegraph, and postal service materials materials, and selenium Great Britain Great Britain, and photography by wire Great Britain, and telegraph Germany, and facsimile Great Britain, and facsimile France France, and photography by wire France, and telegraph France, and facsimile France, and facsimile American post office Grimshaw, Robert Korn's Photographic Fac-Simile Telegraph 6890 Grimshaw, Robert The Telegraphic Eye Scientific American
April 1, 1911
104 335-36 television, and history of telegraph telegraph, and visual television television, and origins Grimshaw, Robert The Telegraphic Eye 11220 Gronow, Pekka Sources for the History of the Record Industry Phonographic Bulletin
Nov. 1982
34 50-54 Gronow presented this paper at a meeting in Brussels, July 8, 1982. He notes that record company catalogs are one of the best sources, and that the Library of Congress has a compilation of Victor catalogs. sound recording bibliographies, and sound recording bibliographies sound recording, and bibliography Gronow, Pekka Sources for the History of the Record Industry 16320 Gross, J. Ellsworth Illustrating a Story John A. Tennant, ed. The American Annual of Photography: 1908 New York Tennant and Ward
1907
22 137-39 The author maintains that "An illustrated article will always have a preference, not only that the picture adds to the attractiveness of the article and to the publication, but the mission of the illustration is explanatory as well. It often tells much in little. Seeing is believing and feeling, and feeling represents the naked truth which is demonstrated in the proof of the fact by the truthful photograph." (137) journalism magazines, and photography magazines photography photography and visual communication news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines cameras cameras, and availability cameras, portable cameras, and journalism books, periodicals, newspapers Gross, J. Ellsworth Illustrating a Story 27360 Gross, Lynne S.// Larry W. Ward Electronic Moviemaking Belmont, CA Wadsworth Publishing Company
1994
Chapter 15, "A Look to the Future," examines movie making and desktop technologies, multimedia, compositing, morphing, interactive media, virtual reality, and improved definition television. computers corporations corporations corporations television, and digital special effects motion pictures future and science fiction digitization computers motion pictures and popular culture television multimedia media convergence digital communication motion pictures, and digital media television, and digital media computers and the Internet computers, and media convergence computers, and digital media digital media digital media, and computers AT&T Bell Laboratories virtual reality motion pictures, and vitual reality video games video games, and virtual reality HDTV television, and high definition (HDTV) motion pictures, and computers computers, and motion pictures special effects, and motion pictures motion pictures, and special effects motion pictures, and desktop technologies motion pictures, and morphing motion pictures, and future future motion pictures, and compositing motion pictures, and HDTV motion pictures, and interactive media Gross, Lynne S.// Larry W. Ward Electronic Moviemaking 9430 Grossman, Lawrence K. The Electronic Republic: Reshaping Democracy in the Information Age New York Viking Penguin Books
1995
; media effects See also: media convergence See also: mass media Lawrence Grossman argues that a new political system is taking shape. Electronic communications are enabling people to have a far greater impact on the political process. There is more access to information, more direct communication between citizens and the government and among citizens themselves. The “electronic republic” will reduce traditional barriers of time and distance and allow for bottom-up democracy. Grossman’s book is designed as a guide to make this transition smooth and to minimize disruptions or constitutional problems.
Grossman believes that we are entering a third stage of political development. The electronic republic has evolved out of the representative democratic model that grew up since the eighteenth century. The electronic republic will be more like the direct democracy of the past. Technology will allow informed decisions to be made nearly instantaneously and without mediation. Also, more sophisticated means of measuring public opinion will be created that allow political and business leaders to devise legislation or business practices that enjoy wide support. The key factor is removing the current system of mass media, which Grossman believes is biased to the left and ultimately provides a barrier to democratic progress.
Grossman lists several potential problems with the electronic democracy. First, public opinion is easily mislead and sometimes irrational. Sound government requires informed judgment and critical perspective. Also, money has the capacity to distort the system. It is difficult to provide something resembling equal access to the system, especially considering Supreme Court rulings that make campaign finance reform difficult. However, Grossman believes optimistically that these and other problems will be solved in time.
--Rob Rabe computers nationalism interactivity journalism community democracy computers news and journalism media computers and the Internet Rabe, Rob democracy and media democracy, and Internet electronic republic McLuhan, Marshall interactive media media convergence television electronic media nationalism and communication nationalism, and new media television, and democracy computers, and democracy news, and bias news Grossman, Lawrence K. The Electronic Republic: Reshaping Democracy in the Information Age 32940 Gruber, Carol Mars and Minerva: World War I and the Uses of Higher Learning in America BatonRouge Louisiana State University Press
1975
Mars and Minerva is an excellent history of how the First World War affected universities and colleges in the United States. Gruber focuses primarily on major research universities rather than liberal arts colleges, comprehensive universities or normal schools. Within the universities she spends a majority of the book dealing with professors rather than administrators, students or alumni.
The main thrust of Gruber’s work is why professors supported the war with such vigor and what actions professors took to support the government. For evidence she uses a few examples for each argument she is trying to make. As mentioned above, almost all of her examples come from major research institutions (Michigan, Wisconsin, Columbia etc.), which leads one to wonder what was happening at less notable colleges. Gruber argues that professors, particularly those in history were unsure of their role in society, as well as their usefulness. Thus, to make themselves valuable to society and create a role for themselves they started to support the war fully and unconditionally.
Gruber also does a decent job of looking at how professors in different disciplines
joined the war effort, though she does largely focus on history (because, as she argues, historians were more likely to be vociferous supporters of the government).
Lastly, while she devotes a healthy portion of her book to the militarization of the
American campus, Gruber does not examine student opinion particularly closely, nor how students learned about the war (student newspapers? Professors proselytizing?).
--Ryder Kouba Kouba, Ryder propaganda war World War I World War I, and propaganda propaganda, and World War I World War I, and universities media effects World War I, and media effects media effects, and World War I Gruber, Carol Mars and Minerva: World War I and the Uses of Higher Learning in America 39050 Grunden, Walter E. Secret Weapons and World War II: Japan in the Shadow of Big Science Lawrence, KS University Press of Kansas
2005
This well-researched book based on several primary collection in the National Archives and elsewhere, begins with a chapter on "Mobilizing Science and Technology for War." The following chapter considers "Nuclear Energy and the Atomic Bomb." Of interest to those interested in possible origin of the strategic defense initiative during the Ronald Reagan administration, is chapter 3 which deals with "Electric Weapons: Radar and the 'Death Ray.'" Grunden notes that the British government had been approached repeatedly during the early 1930s by a variety of “death ray merchants,” and in early 1935, H. E. Wimperis, who was director of scientific research in the Air Ministry, decided to investigate whether electromagnetic waves could create a beam powerful enough to destroy enemy planes. With the help of Robert Watson Watt, a superintendent at the Radio Research Station in Slough, and others, those doing the investigation concluded that the best technology at the time could not begin to generate enough power to operate such a weapon. Wimperis passed these conclusions on to Henry T. Tizard, the Chairman of the Aeronautical Research Committee. The Tizard Committee concluded that a death ray was not possible but that using radio waves to detect aircraft was very promising. Eventually this line of thinking led to the development of radar. Grunden notes that Japan also conducted research to build a ray weapon.
Grunden's final chapters deal with "Aeronautical Weapons: Rockets, Guided Missiles, and Jet Aircraft"; Chemical and Biological Warfare"; and an Epilogue on "The Impact of World War II on Science in Japan." R & D death rays nationalism SDI presidents and new media research and development war war non-USA computers Japan strategic defense initiative (SDI) Japan, and strategic defense initiative nationalism and communication military communication death rays, and Japan Japan, and death rays death rays, and Great Britain Great Britain, and death rays research and development war World War II, and research and development research and development, and World War II radar Roosevelt, Franklin D. Roosevelt, Franklin D., and radar Roosevelt, Franklin D., and research and development Tizard committee Great Britain Roosevelt, Franklin administration World War II Grunden, Walter E. Secret Weapons and World War II: Japan in the Shadow of Big Science 31430 Guback, Thomas H. The International Film Industry: Western Europe and America since 1945 Bloomington, IN Indiana University Press
1969
The author notes that the economic and technological character of film "differs from most other commodities in that it tends to be infinitely exportable. (5) The opening chapter examines the nature of film, economically and technologically. Chapter 2 looks at quotas set up by European nations to protect themselves from being overwhelmed by the influx of American movies after World War II. The next two chapters examine American movies in Europe and European films in the United States. Chapters then follow that cover the American film industry's foreign policy, including the work of the Motion Picture Export Association. Guback notes that a new style of film -- one that had characteristics of both traditional American and European films, began to emerge. the last chapter looks at co-production trends in the European film industry.
Guback notes that as television’s over-the-air programming offered viewers for free the kind of family entertainment that had been the staple of Hollywood’s Production Code, many Americans asked, should they pay for it in the theaters? Foreign movies, with their “fresh (and flesh) appeal,” provided exhibitors a chance to win back the millions of former theater-goers who had been stolen by TV. (71)
 Motion Picture Association of America (MPAA) motion pictures censorship and ratings motion pictures, and Europe foreign films motion pictures, and foreign films non-USA Europe Europe, and motion pictures motion pictures, and Europe capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and foreign markets globalization motion pictures, and globalization Motion Picture Export Association MPAA foreign films sexuality foreign films, and sexuality sexuality, and foreign films global communication Guback, Thomas H. The International Film Industry: Western Europe and America since 1945 590 Guile, Bruce R. ed. Information Technologies and Social Transformation Washington, D.C. National Academy Press
1985
These essays grew out of the National Academy of Engineering’s Symposia (NAE) on Technology and Society Priorities, held in conjunction with the NAE’s 1984 annual meeting. Essays include: John S. Mayo, “The Evolution of Information Technologies”; Melvin Kranzberg, “The Information Age: Evolution or Revolution?”; Harlan Cleveland, “The Twilight of Hierarchy: Speculations on the Global Information Society”; Anne Wells Branscomb, “Property Rights in Information”; Walter S. Baer, “Information Technologies in the Home” (see filed under “Guile, Bruce R.”); and Theodore J. Gordon, “Computers and Business.” computers nationalism labor communication revolution law communication revolution, and second industrial revolution capitalism non-USA home, and new media home office office, and information technology home, and information technology information technology general studies information age communication revolution information technology and home second industrial revolution copyright computers capitalism information technology and office hierarchy global communication nationalism and communication office, and new media home, and new media nationalism, and new media capitalism, and new media computers and the Internet Guile, Bruce R. ed. Information Technologies and Social Transformation 9790 Guimond, James American Photography and the American Dream Chapel Hill University of North Carolina Press
1991
In the introduction, Alan Trachtenberg discusses the political and social focus of Guimond’s work. “The book is political and social history as much as photographic criticism–indeed its method will be familiar as a traditional American studies interdisciplinary approach. Solidly grounded in historical event, American Photography and the American Dream moves freely and unselfconsciously from picture to text to context, from biography to editorial decision making to picture analysis, and in its predominantly narrative mode seeks to locate its photographic texts in a social and political relation to the propositions of the Dream. Thus the book addresses what Guimond calls ‘mainstream’ culture. Political and aesthetic avant-garde photography is not part of the story. Organizing his story as a reconstructed debate between liberal and conservative, or Left and Right, versions of the American Dream, Guimond seeks to politicize photography, to view mainstream images as arguments about the idea of America: is the nation happy or discontent, true to its hegemonic ideals of equality and opportunity (the conventional terminology of the Dream), or is it betraying them? ‘Obviously the Dream,’ Guimond writes, ‘has been very elastic.’ Its terminology and imagery have been deployed both to celebrate and to condemn, to blame the poor and disadvantaged as responsible for themselves or to side with the losers against the rich, the comfortable, the smug, and the institutions they control. The very same Dream has served to exclude and restrict and at the same time to denounce all exclusions and restrictions, to contrast realities with promises.” Guimond devotes space to an examination of the photographs of the Farm Security Association.
--SV

Guimond looks for reflections of the American dream in samples of photography that came before the nation’s attention between 1899 and 1990. He proceeds on the premise, shared by all of his photographers, that words and statistics are not alone sufficient to convey the reality of American life during this period. Photographs provided a sense of the texture and everyday drama of life. Guimond is much concerned with the disparity between the image of the American dream put forward by those with an interest in its promulgation and the far less glamorous and satisfying reality of American life. His photographers, in each instance, attempt to find the reality behind the surface stereotypes attaching themselves to their subjects. Guimond has a clear social criticism agenda brought in with the stalking horse of historical analysis of American photography. This approach falls within the multi-disciplinary approach of American Studies.
--Gordon Jackson

Guimond’s book chronicles the movement of photography and art in America from the late 1890s through the 1980s and how it served, in many ways, as a counter expression from the concept of the American Dream.
The American Dream has served as a source of inspiration and hope for millions of American, especially new immigrants arriving in America, that they can become financially successful in the profession of their dreams if they work hard. The photographers and artists in Guimond’s book present a different America than the one portrayed in concepts of the American Dream. These artists present real America and feature real Americans. For example, Francis Benjamin Johnston took pictures of the studying conditions of segregated schools across the south. Lewis Hine shot pictures of children slaving in factories and American workers in deplorable conditions, such as working the mines. Roy Stryker helped promote two different styles of American photography: documentary work and “autumn” pictures. Unlike mainstream photography, documentary style photos shoot subjects up close where it looks like the photographer and the subject have a relationship of some sort. “Autumn” pictures are shot, obviously, in the fall when scenic landscapes of leaves changing color with white clouds and blue skies overhead are meant to portray the abundance and fertility of the American Dream. These black-and-white images (at least how the book portrays them) gave Americans a different vision of the America promoted in the mainstream press. This one was darker, bleaker and more industrial with a focus on decay, struggle and the machine’s oppression of man. By the end of the book, photographers are using American greed and prosperity to frame homelessness and poverty that contrast the image of ‘high-flying’ 1980s culture.
--Patrick Wright
 journalism nationalism photography magazines books, periodicals, newspapers journalism film cinema motion pictures celluloid news and journalism photography and visual communication film photography and visual communication photojournalism nationalism and communication Farm Security Administration, and photography photography, and Great Depression magazines photography, and magazines photography, and documentary photography, and New Deal Tugwell, Rexford G. Bourke-White, Margaret Life nationalism, and photography journalism, and photography photography, and reform photography, and reality photography, and bias Jackson, Gordon journalism materials Wright, Patrick capitalism capitalism, and photography photography, and capitalism Guimond, James American Photography and the American Dream 2680 Gunderson, Les C. And Donald B. Keck Optical Fibers: Where Light Outperforms Electrons Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
214-29 “A revolution has begun in the technology of transmitting information,” this article begins. “The rebel force is optical fiber -- a thread of purest glass, five-thousandths of an inch in diameter, about the size of a human hair -- through which laser light of high purity and intensity can be transmitted.” We have only just started to tap the full potential of this technology. “Many now think that the development of so-called ‘photonics’ will inevitably lead to fully fledged optical computing, in which light pulses replace electrons as the basic method of transmitting information. The photonics revolution has been made possible by the development of optical fibers.... This new material is already transforming telecommunications and data networks, vastly increasing our capacity to move digitized information around.” The authors at the time of this article were employed by Corning Glass. This piece originally appeared in Technology Review (May-June 1983). computers second industrial revolution communication revolution history and new media preservation) optical fibers fiber optics microelectronics revolution history information storage history, and new media materials film cinema motion pictures celluloid computers communication revolution, and second industrial revolution history telecommunications materials information technology Information age history general studies computers and the Internet optical fibers materials revolution photonics information processing optical fibers telecommunications, and optical fibers computers, and optical fibers Corning Glass Company digital media, and optical fibers history, break with information technology, and optical fibers digital media digitization microelectronics Gunderson, Les C. And Donald B. Keck Optical Fibers: Where Light Outperforms Electrons 4630 Gunkel, David J. Virtually Transcendent: Cyberculture and the Body Journal of Mass Media Ethics
1998
13 2 111-23 "This article examines the ethical implications of the desire for disembodiment situated in the texts and technologies of cyberspace. The article is divided into 2 parts. The first traces the conceptual history of dualism, demonstrating its exclusionary cultural politics and investigating the socio-political consequences of encoding this metaphysical information in contemporary media technology. The second part examines the material conditions of new communication technology, arguing that the issue of access reduplicates in practice the exclusivity of dualism. The article concludes by investigating the ethical implications of employing dualistic metaphysics as a legitimizing narrative of media technology and cyberculture." ethics computers values religion) ethics computers and the Internet cyberculture values, and computers values, and the Internet values, and cyberculture ethics, and cyberculture dualism, and cyberculture cyberspace virtual reality Gunkel, David J. Virtually Transcendent: Cyberculture and the Body 470 Gunning, Tom The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde Wide Angle
1986
8 3/4 63-70 Gunning argues that early film viewing experiences before 1906 “relate more to the attractions of the fairground than to the traditions of legitimate theater. The relation between films and the emergence of the great amusement parks, such as Coney Island, at the turn of the century provides rich ground for rethinking the roots of early cinema.” (65) What is “the cinema of attraction”? “First, it is a cinema that bases itself on the quality that Léger celebrated: its ability to show something.” (64) There “is the extremely important role that actuality film plays in early film production.” (65) It is “a conception that sees cinema less as a way of telling stories than as a way of presenting a series of views to an audience, fascinating because of their illusory power (whether the realistic illusion of motion offered to the first audiences by Lumiere, or the magical illusion concocted by Méliès), and exoticism.” (64) Film has a different relationship with spectators than it would have with “narrative film after 1906.” (64)
Gunning writes that “Exhibitionism becomes literal in the series of erotic films which play an important role in early film production….” (64; see also 65) He notes that the close-up shot where “the camera is brought close to the main character,” served a different purpose prior to 1906. “The enlargement is not a device expressive of narrative tension; it is in itself an attraction and the point of the film.” (66)
Gunning’s article owes something to Sergei Eisenstein who wrote an article entitled “Montage of Attractions: For ‘Enough Stupidity in Every Wiseman’,” in 1974. Gunning quotes Eisenstein saying: “An attraction aggressively subjected the spectator to ‘sensual or psychological impact.’ [Eisenstein’s quoted] According to Eisenstein, theater should consist of a montage of such attractions creating a relation to the spectator entirely different from the absorption in ‘illusory imitativeness.’” (Gunning, 66) Gunning notes that Eisenstein used “attraction” in a different way that he does but, he says, “it is important to realize the context from which Eisenstein selected the term. Then as now, the ‘attraction’ was a term of the fairground, and for Eisenstein and his friend Yuketvich it primarily represented their favorite fairground attraction, the roller coaster, or as it was known then in Russia, the American Mountains.” (66) Gunning goes on to write that “I believe that it was precisely the exhibitionist quality of turn-of-the-century popular art that made it attractive to the avant-garde its freedom from the creation of a digenesis, its accent on direct stimulation.” (66)
Even after the arrival and dominance of narrative film, Gunning sees the “cinema of attraction” continuing to be important. “Just as the variety format in some sense survived in the Movie Palaces of the Twenties (with newsreel, cartoon, sing-along, orchestra performance and sometimes vaudeville acts subordinated to, but still co-existing with, the narrative feature of the evening), the system of attraction remains an essential part of popular filmmaking.” (68) “Clearly in some sense recent spectacle cinema has re-affirmed its roots in stimulus and carnival rides, in what might be called the Spielberg-Lucas-Coppola cinema of effects.” (70) actors acting actors acting photography values new way of seeing motion pictures new way of seeing, and motion pictures modernity photography and visual communication modernism new way of seeing motion pictures, and new way of seeing advertising, and movie posters urban studies values, and motion picture advertising freedom of expression, and posters cinema of attractions cameras motion pictures, and cameras acting, and facial expressions facial expressions motion pictures, and facial expressions sexuality motion pictures, and sexuality sexuality, and motion pictures motion pictures, and avant-garde avant-garde, and motion pictures spectacles motion pictures, and spectacle Eisenstein, Sergei motion pictures, and modernity advertising avant garde freedom Gunning, Tom The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde 33960 Gunning, Tom Re-Newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
39-60 Gunning writes that the "introduction of new technology in the modern era employs a number of rhetorical tropes and discursive practices that constitute our richest source for excavating what the newness of technology entailed." (39) He goes on to say that "every new technology has a utopian dimension that imagines a future radically transformed by the implications of the device or practice. The sinking of technology into a reified second nature indicates the relative failure of this transformation, its fitting back into the established grooves of power and exploitation. Herein lies the imortance of the cultural archeology of technology, the grasping again of the newness of old technologies." (56)
Gunning's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. modernity novelty metaphors sound recording duplicating technologies typewriters motion pictures gramophone phonograph history and new media history modernism Gunning, Tom Re-Newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century 27860 Gunning, Tom The Whole Town's Gawking: Early Cinema and the Visual Experience of Modernity Yale Journal of Criticism
1994
7 2 189-201 This interesting article discusses the impact that early motion pictures had on their audiences and how the visual experiences reflected a new way of seeing. This "cinema of attractions" also included billboards, posters, and other forms of advertising and visual communication. "Certain genres, such as pornography, musical comedies, or newsreels, remain closely tied to the methods of the cinema of attractions throughout cinema history," Gunning writes.
Drawing on Baudelaire's essay, "The Painter of Modern Life," Gunning says that the "motifs of modernity that Baudelaire sets out -- 'the ephemeral, the fugitive, the contingent' -- evoke the discontinuous and punctual temporality of the attraction: something that appears, attracts attention, and then disappears without either developing a narrative trajectory or a coherent diegetic world. Attractions work by interruption and constant change rather than steady development."
Gunning notes that early motion pictures played an important part in the development of billboards, world's fairs, department stores, and amusement parks. billboards photography advertising, and public relations advertising, and motion pictures World Fairs seeing at a distance propaganda public relations values modernism modernism modernity freedom values posters new way of seeing motion pictures new way of seeing, and motion pictures modernity photography and visual communication motion pictures modernism posters, and motion pictures new way of seeing motion pictures, and new way of seeing advertising, and movie posters urban studies values, and posters (19th century) values, and motion picture advertising color, and posters posters, as degenerate art freedom of expression, and posters color advertising modernity posters billboards, and motion pictures motion pictures, and billboards cinema of attractions modernity, and motion pictures motion pictures, and modernity pornography, and motion pictures motion pictures, and pornography Baudelaire, Charles World Fairs, and motion pictures motion pictures, and worlds fairs department stores, and motion pictures motion pictures, and department stores billboards, and motion pictures motion pictures, and billboards amusement parks, and motion pictures motion pictures, and amusement parks department stores amusement parks pornography Gunning, Tom The Whole Town's Gawking: Early Cinema and the Visual Experience of Modernity 2950 Gunning, Tom The World as Object Lesson: Cinema Audiences, Visual Culture and the St. Louis World's Fair, 1904 Film History
1994
6 4 422-44 Gunning writes that the St. Louis "World's Fair provides one of the richest instances of the visual and technological culture that emerged in industrialized countries from the middle of the nineteenth century into the twentieth. Cinema moves within this culture less as its culmination than as a parasite, drawing upon both its forms and its themes but initially remaining relatively neglected, seeming like a pale shadow of richer, more vivid, forms. But as such it has a great deal to tell us about the visual practices which cinema sought to emulate and from which it emerged."
This article was part of an edition of Film History devoted to audiences. See the introductory piece before Gunning's article, "Audiences," in ibid., 419-21. visual communication World Fairs seeing at a distance modernism motion pictures modernism modernity modernity modernism audiences motion pictures and popular culture World Fairs (1904) World Fairs, and motion pictures motion pictures, and worlds fairs new way of seeing motion pictures, and modernity modernity, and motion pictures visual culture, and motion pictures audiences, and motion pictures motion pictures, and audiences visual culture Gunning, Tom The World as Object Lesson: Cinema Audiences, Visual Culture and the St. Louis World's Fair, 1904 510 Guo, Zhenzhi History of Television in China (Zhongguo dianshi shih) Beijing, China Wen hau yi shu chu ban she: Xin hua shu dian jing xiao
1997
This book chronicles the development of television broadcasting industry in China in from 1958 to early 1990s, including the use of broadcasting technology, production of television sets, structure of television management, and the incorporation of the technology in an age of communist political ideologies and social movements. The book also includes a brief description of television in Taiwan, Hong Kong and Macao.
-- Amy Cbu nationalism imperialism Asia ideology cultural imperialism communism non-USA television television, and history of China China, and television television, and China television, and Taiwan Taiwan Taiwan, and television Hong Kong television, and Hong Kong Hong Kong, and television nationalism and communication nationalism, and television communism, and television television, and communism Chu, Amy television, and communism (China) television, and Macao ideology, and television television, and ideology cultural imperialism, and China Guo, Zhenzhi History of Television in China (Zhongguo dianshi shih) 37070 Guy, George H. Electricity's Farthest North Cosmopolitan
Jan. 1906
40 3 331-38 George H. Guy surveys "some of the newer developments in the electrical field, outside of warfare, and limited solely to the arts of peace." (331) It covers wireless, telephones, the writing telegraph (telautograph), the electric railway, the gasoline electric stage coach, "radical change" in the way electrical current is generated, turbo generators, electrical heating, kitchen utensils, and scientific experiments with radium.
The author also discusses developments in lighting with mercury vapor electric lamp (334-35) and the tantalum lamp (335-36). He notes that the mercury vapor electric lamps are easy on the eyes, are being used in offices, including newspaper offices, "and in the production of scenic effects on the stage. It is claimed that the light is twice as efficient as the ordinary arc lamp, and has seven times the efficiency of the incandescent electric lamp." (335) (emphasis added)
"Another interesting development in methods of electric illumination is the 'artificial daylight' of a new vacuum-tube lamp. In this lamp the electric current is conducted by a very small quantity of non-metallic gas, which is placed inside the air-exhausted tube. One appreciable advantage possessed by the lamp is that great length can be given to the tubes, and, consequently, an enlarged surface can be used for the emission of light. This gives a uniformity of illumination that it would be difficult otherwise to obtain. Another point in its favor is its long life. Its efficiency is high, as the energy is converted almost entirely into light-energy, practically little or no heat energy being produced. This creation of light without heat has therefore been called 'cold light.' .... This lam is coming into demand for both exterior and interior illumination, and especially for the lighting of photographers' windows and studios, advertising signs and spectacular displays. It has already been made in one hundred and twenty-five feet single lengths of tubing." (335) wireless communication stage motors photography electricity telephones telegraph electricity, and telegraph electricity, and telephones telegraph, and electricity telephones, and electricity electricity, and motors motors, and electricity electricity, and lighting lighting, and electricity vacuum tubes railroads electricity, and railroads railroads, and electricity electricity, and modernity modernity modernity, and electricity mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting lighting, and vacuum tube lamps advertising and public relations advertising, and electricity electricity, and advertising De Forest, Lee wireless radio radio, and wireless Marconi, Guglielmo, and wireless wireless, and Marconi wireless, and Lee De Forest telegraph, and telautograph office and new media office, and lighting photography and visual communication photography, and mercury vapor lamp photography, and Cooper Hewitt lighting newspapers, and Cooper Hewitt lighting cold light lighting, and cold light stage and theater, and lighting electricity, and theater theater, and electricity motion pictures motion pictures, and lighting motion pictures, and vacuum-tube lighting lighting, and motion pictures lighting advertising news and journalism office theater Guy, George H. Electricity's Farthest North 10970 Guye, Samuel and Henri Michel Time & Space: Measuring Instruments from the 15th to the 19th Century New York Praeger Publishers
1971
This work originally appeared in 1970 under the title Mesures du Temps et de l'Espace and was translated by Diana Dolan. It is a richly illustrated work (both in color and black and white) about clocks and watches. The author begins with the fourteenth century, deals with the inventions and discoveries of the Renaissance. Chapters are then devoted to the seventeenth and eighteenth centuries, to "The Marine Chronometer," and to "Decorative Clocks." Part Two of this book deals with "Ancient Measuring Instruments," including terrestrial and celestial globes, to astrolabes, sundails, hour glasses, and topographical instruments. illustrations time and timekeeping time timekeeping, and clocks non-USA geography illustrations timekeeping illustrations, and clocks time space (spatial) timekeeping, history of Guye, Samuel and Henri Michel Time & Space: Measuring Instruments from the 15th to the 19th Century 90 Haas, Christina Writing Technology: Studies on the Materiality of Literacy Mahwah, N.J. Lawrence Erlbaum Associates
1996
writing new media new media, and writing writing, and new media literacy literacy, and new media literacy, and technology new media, and literacy Haas, Christina Writing Technology: Studies on the Materiality of Literacy 27410 Haberman, Clyde Vatican Condemns Kung Fu Films and Sex on TV New York Times
May 17, 1989
A A3 The article deals with the Catholic Church's position on violence and sexuality in television programs. motion pictures, and sexuality sexuality values Christianity sexuality sexuality sex motion pictures media effects media violence violence media effects censorship and ratings children law censorship and ratings censorship Catholic Church Catholic Church motion pictures and popular culture censorship, and Catholic Church Catholic Church, and motion pictures Catholic Church, and censorship violence, and Catholic Church violence, and motion pictures sex, and motion pictures motion pictures, and sex motion pictures, and violence media effects, and Catholic Church Catholic Church, and media effects children, and motion pictures children, and Catholic Church television television, and Catholic Church television, and sex sex, and television violence, and television television, and violence television, and soap operas Catholic Church, and soap operas soap operas, and sex sex, and soap operas soap operas, and Catholic Church children, and media Haberman, Clyde Vatican Condemns Kung Fu Films and Sex on TV 33060 Habermas, Jûrgen The Future of Human Nature Cambridge, UK Polity
2003
In this brief 127-page book, Habermas discusses the concept of how human nature will look in a futuristic world where technology has altered the landscape of what it means to be human. His book is not so much a discussion of the future of human behavior, what most people might commonly consider the definition of human nature. At best, it is a philosophical discussion about how to maintain the dignity and honor of a human life when the biology around human life can be manipulated to serve existing humans or create children that could be ‘tailor-made’ to fit parents’ preferences for certain talents and traits.
The two most obvious points of discussion as it concerns technology and human life are stem cell research and eugenics and these are the two issues that Habermas focuses on directly. He postulates that humans could reduce the dignity of human life when they destroy embryos for non-procreation means and use genetic research to design their offspring. Although he rarely, if ever, mentions stem cell research by name, it is clearly in the crosshairs of his argument regarding science and embryos. He acknowledges that the goal of medical science is to improve the lives of those already living, but he wonders what will happen in a society where such goals are met at the expense of the unborn.
A more dangerous outcome of science is the use of eugenics to create ‘model’ children for parents. In Habermas’ view, future technology would allow parents to ‘program’ their fertilized eggs and embryos to make their children prodigies at anything the parents wished them to be, from sports to painting to music. But the process of ‘creating’ children denies them the freedom to determine their own lives, according to Habermas, and that ability to self-determine one’s future is one of the greatest assets of being human.
Although the writing can be a bit more academic than necessary, Habermas’ arguments are solid and thorough. But there are two glaring issues that he fails to address. The most obvious is the idea of human cloning. One could extrapolate a bit about this in his discussion of human embryos, but it would help his case if he stated it directly. The more subtle issue concerns parental manipulation of their children. Habermas is concerned with how a parent could use genetic manipulation to make their offspring conform to the parent’s ideals of what a child should become. But many parents engage in this same manipulation of their children during the course of the child’s life. They push them into activities and possibly careers that are of little interest to the child. It is difficult to see how this post-birth manipulation is better and somehow more ‘dignified’ than eugenics.
But the whole point of Habermas book is the emphasis on human dignity and moral freedom. He believes that people have a moral obligation to keep human life sacred regardless of genetic and technological advances. It is hard to argue against that idea, even if one doesn’t agree with his definitions and beliefs.
--Patrick Wright biotechnology Wright, Patrick Habermas, Jûrgen artificial intelligence and biotechnology Habermas, Jûrgen, and eugenics Habermas, Jûrgen, and abortion Habermas, Jûrgen, and stem cells Habermas, Jûrgen, and artificial intelligence Habermas, Jûrgen, and biotechnology eugenics, and Jûrgen Habermas eugenics, and Jûrgen Habermas abortion, and Jûrgen Habermas stem cells, and Jûrgen Habermas artificial intelligence, and Jûrgen Habermas biotechnology, and Jûrgen Habermas values values, and Jûrgen Habermas values, and artificial intelligence values, and biotechnology artificial intelligence and biotechnology, and values abortion eugenics Habermas, Jûrgen The Future of Human Nature 1480 Habermas, Jürgen trans. by Thomas Burger The Structural Transformation of the Public Sphere Cambridge, MA MIT Press
1962, 1991
Habermas, writing in 1962, saw modern capitalism and technology destroying the public sphere of news and information that had emerged during the seventeenth, eighteenth, and nineteenth centuries. Then, the information networks formed by trading systems between merchants entailed exchange of news--a development of the press--which informed of things like “wars, harvests, and taxes,” transportation and trade. These were increasingly made public as news itself became a commodity.
First in Great Britain over the course of the eighteenth century and then on the Continent in subsequent years, the press became the organ by which public debate was waged, and the notion of public opinion as an important political consideration emerged. In the late-nineteenth and twentieth centuries, this literary-cultural world was replaced. “The public sphere in the world of letters was replaced by the pseudo-public or sham-private world of culture consumption . (159-61)
“The bourgeois ideal type assumed that out of the audience-oriented subjectivity’s well-founded interior domain a public sphere would evolve into a world of letters,” Habermas wrote. But by 1962, “instead of this, the latter [i.e. the public sphere] has turned into a conduit for social forces channeled into a conjugal family’s inner space by way of a public sphere that the mass media have transmogrified into a sphere of cultural consumption.” (162)
Commercialization had had a negative effect on modern media, especially television and radio. “To be sure, at one time the commercialization of cultural goods had been the precondition for rational-critical debate; but it was itself in principle excluded from the exchange relationships of the market and remained the center of exactly the sphere in which property-owning private people would meet as ‘human beings’ and only as such. Put bluntly: you had to pay for books, theater, concert, and museum, but not for the conversation about what you had read, heard and seen and what you might completely absorb only through conversation. Today the conversation itself is administered. Professional dialogues from the podium, panel discussions, and round table shows--the rational debate of private people becomes one of the production numbers of the stars in radio and television, a salable package ready for the box office.” (164)
Improvements in technology during the nineteenth century such as faster printing made possible by steam power and then electricity, and by the telegraph accelerated the infusion of consumption into the public forum of newspapers and books by requiring a large capital base even while reaching more and more readers. This trajectory only continued with the arrival of electronic media during the twentieth century. advertising, and public relations propaganda public relations community democracy democracy and media public sphere capitalism capitalism, and news democracy, and capitalism capitalism, and democracy telegraph telephones radio public sphere, and television television, and public sphere radio, and public sphere public sphere, and radio advertising advertising, and democracy advertising, and public sphere public sphere, and advertising democracy, and public sphere public sphere, and democracy television Habermas, Jürgen trans. by Thomas Burger The Structural Transformation of the Public Sphere 21100 Haberski, Raymond J. Jr. It's Only a Movie! Films and Critics in American Culture Lexington University Press of Kentucky
2001
This book examines the rise of motion pictures as a art form in the United States and how during the 1950s and 1960s, some critics treated cinema (and especially foreign films) with almost religious solemnity. By the mid-1970s several cultural and economic forces "joined to deflate cinephilia." As studios searched for the next blockbusters, moviemaking "became crassly commercial." Changes in distribution practices meant that fewer motion pictures companies were willing to gamble on foreign movie makers. A younger generation of film goers were generally apathetic to foreign pictures. Also the increasingly sexually explicit nature of American commercial films robbed foreign films of excitment that had grown from a belief that they treated sex with more openness. The author treats such films critics as Pauline Kael, Susan Sontag, Andrew Sarris, Theodore Dreiser, and others. law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and critics motion pictures, as art Kael, Pauline Dreiser, Theodore, and motion pictures Sarris, Andrew Sontag, Susan, and motion pictures art, and censorship censorship, and art art Haberski, Raymond J. Jr. It's Only a Movie! Films and Critics in American Culture 11280 Hacker, Barton C. An Annotated Index to Volumes 1 through 25 of Technology and Culture 1959-1984 Technology and Culture
April 1991
32 No. 2, Part 2 This annotated index is helpful in finding scholarship related to specific topics published in Technology and Culture between 1959 and 1984. computers Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories time and timekeeping inventions innovation materials timekeeping, and clocks bibliographies bibliographies, and technology bibliographies, and printing bibliographies, and electricity bibliographies, and primary collections bibliographies, and timekeeping bibliographies, transportation inventors bibliographies, and computers transportation electricity computers and the Internet books, periodicals, newspapers electronic media timekeeping aeronautics and space communication materials lighting motors biography satellites Hacker, Barton C. An Annotated Index to Volumes 1 through 25 of Technology and Culture 1959-1984 2230 Haddow, Robert H. Pavilions of Plenty: Exhibiting American Culture Abroad in the 1950s Washington, D. C. Smithsonian Institution Press
1997
Haddow begins: “The new military and trade alliances that the United States entered into after World War II made American culture into a vastly more exotic and far-flung network of cultural contacts than it had been at any other time in the past. Containing the Soviets required military bases in strategic locations and encouraged trade with all the nations bordering the USSR.
“Internationalism was promoted by the interests of large corporations and, more generally, the allure of a world becoming smaller through trade, travel, and the new communication technologies. Americans did not just try to bring the world home -- they also attempted to Americanize other nations....”
Haddow talks about the use of cinerama to project images of American cities into Yugoslavia and Afghanistan. Chapter 8 is entitled “Sputniks and Splitniks.” R & D nationalism exhibitions nationalism imperialism public relations advertising motion pictures research and development war war non-USA motion pictures and popular culture nationalism and communication military communication cultural imperialism propaganda culture, exporting abroad (U.S.) Cold War motion pictures, and cinerama Cinerama Yugoslavia, and American culture Afghanistan, and American culture exhibitions, and Cold War (U.S.) Sputnik satellites nationalism, and motion pictures aeronautics and space communication culture Yugoslavia motion pictures, and nationalism motion pictures, and foreign policy advertising and public relations Afghanistan Haddow, Robert H. Pavilions of Plenty: Exhibiting American Culture Abroad in the 1950s 7820 Hafner, Katie and Matthew Lyon Where Wizards Stay Up Late: The Origins of the Internet New York Simon & Schuster
1996
An informative book written for a broad public, although it is often slow reading and bogs down in discussing the complicated relationships between many governmental agencies. R & D National Aeronautics and Space Administration (NASA) computers corporations corporations corporations email Defense Advanced Research Projects Agency (DARPA) Advanced Research Projects Agency time and timekeeping time time research and development war digitization computers war Internet computers and the Internet Internet, and history of ARPANET ARPA AT&T Bolt Beranek and Newman Cerf, Vint digital media computers, digital computers, history of Crocker, Steve Crowther, Will DARPA military communication military, and computers computers, and military Department of Defense, U.S., and Internet Heart, Frank Honeywell Corp. military-industrial complex IBM Kahn, Robert Licklider, J.C.R. Lincoln Laboratory, and Internet Internet, and Lincoln Laboratory Internet, and MIT NASA RAND Corporation Roberts, Larry, and Internet Internet, and Stanford Research Institute telecommunications Taylor, Bob, and Internet Internet, and UCLA computers, and time-sharing time sharing, and computers electronic mail Department of Defense, U. S. electronic media Hafner, Katie and Matthew Lyon Where Wizards Stay Up Late: The Origins of the Internet 27940 Haines, Richard W. Technicolor Movies: The History of Dye Transfer Printing Jefferson, NC and London McFarland & Company, Inc.
1993
This book is aimed at those interested in the technology of Technicolor and the the history of dye transfer printing. The work also treats Eastman Kodak. technology corporations corporations dyes dyeing photography women, and new media women technology and society materials cinema motion pictures celluloid motion pictures and popular culture motion pictures color color, and motion pictures motion pictures, and color sound recording sound recording, and motion pictures motion pictures, and sound recording photography and visual communication cameras cameras, and motion pictures film Technicolor Eastman Kodak Cinemascope celluloid technology, and motion pictures motion pictures, and technology women, and motion pictures color, and women women, and color motion pictures color, and Eastman Kodak color, and Technicolor color, and dye transfer printing dye transfer printing Cinerama, and color CinemaScope, and color materials Haines, Richard W. Technicolor Movies: The History of Dye Transfer Printing 33070 Hajdu, David The Ten-Cent Plague: The Great Comic Book Scare and How It Changed America New York Farrar, Straus and Giroux
2008
David Hajdu’s book The Ten-Cent Plague is an examination of the comic book industry and its relation to society as a whole between its creation, in the late-nineteenth century, and the its nadir in the 1950s. Hajdu focuses, in the later chapters especially, on EC Comics, its owner William Gaines, and their battles with the censor-seeking government and general public. Hajdu wants us to reject censorship on the grounds of free speech.
While the book is about comics, readers may be disappointed by the lack of pictures, particularly given the numerous detailed descriptions Hajdu gives of various comic book covers and scenes. Perhaps legal, cost or publisher considerations dissuaded him from providing the reader with more pictures (he does include a few, but most are of people).
Hajdu’s sources are varied, from contemporary news accounts, personal letters and documents to present-day interviews. With his primary sources he also makes use of large block quotes quite often, however they are generally well-chosen and full of helpful knowledge. Some readers may find that he uses too many anecdotes, however. Despite such minor criticisms, overall this is an informative book.
--Ryder Kouba Kouba, Ryder comic books books, periodicals, newspapers values children and media values, and comic books comic books, and values children, and comic books censorship and ratings comic books, and censorship censorship, and comic books comic books, and William Gaines Gaines, William, and comic books censorship children Hajdu, David The Ten-Cent Plague: The Great Comic Book Scare and How It Changed America 25340 Hall, Carla Directors, MPAA Chief Meet on Film Ratings Washington Post
Aug. 10, 1990
C 2C This article deals with the meeting between Jack Valenti, president of the Motion Picture Association of America, and movie directors who were critical of the industry rating system. Valenti up to this time had resisted changing the rating system but now had come to realize that some compromise was probably needed. The industry adopted a new rating category, NC-17, a few weeks later. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theater owners censorship and ratings rating system (U.S.) rating system (U. S.) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Valenti, Jack, and NC-17 Valenti, Jack, and legal challenges theater owners, and rating system (U. S.) theater owners, and NC-17 MPAA, and NC-17 Coppola, Francis Ford Lee, Spike Reiner, Rob Pollack, Sydney Wang, Wayne Lipsky, Mark MPAA, and independent producers NC-17 NC-17, and origins Heffner, Richard Hall, Carla Directors, MPAA Chief Meet on Film Ratings 25280 Hall, Carla Occasional Washington Post
Aug. 10, 1990
C 2C This brief piece deals with the conflict between Jack Valenti, president of the Motion Picture Association of America, and movie directors who were critical of the industry rating system. Valenti up to this time had resisted changing the rating system but now had come to realize that some compromise was probably needed. The industry adopted a new rating category, NC-17, a few weeks later. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) advertising, and public relations Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner motion pictures, and morality Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating rating system (U. S.), and legal challenges CARA, and rating controversies CARA, and legal challenges Valenti, Jack, and critics Valenti, Jack, and NC-17 Valenti, Jack, and legal challenges theater owners, and rating system (U. S.) theater owners, and NC-17 MPAA, and NC-17 Coppola, Francis Ford Lee, Spike Reiner, Rob Pollack, Sydney Wang, Wayne Lipsky, Mark MPAA, and independent producers CARA, and independent producers Silverlight Entertainment Life Is Cheap... rating system (U. S.), and A rating advertising advertising, and A-rate films theater owners theater owners, and A-rated films Heffner, Richard Hall, Carla Occasional 25980 Hall, Jane FCC Chairman Backs Bill on TV Content Los Angeles Times
July 17, 1997
A 17A This article deals with political pressures exerted on the television industry to adopt a rating system for its programs. Motion Picture Association of America (MPAA) entertainment classification MPAA self-regulation government hearings Federal Communications Commission (FCC) entertainment, home Clinton, William Jefferson CARA V-chip, and television violence television, and parents telecommunications presidents, and new media censorship and ratings rating system (U.S.) rating system (U. S.) PTA motion pictures home entertainment government regulation Clinton Administration law regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification Gore, Al home, and new media home home television motion pictures and popular culture Valenti, Jack Valenti, Jack, and TV rating system (U.S.) rating system (U. S.), and TV (1997) V-chip television, and rating system (U. S.) television, and V-chip home entertainment revolution home entertainment, and V-chip television, and PTA PTA, and television television, and critics rating system (U. S.), and critics hearings new media Collings, Tim V-chip, and Tim Collings Telecommunications Act (1996) regulation, and television Valenti, Jack, and television television, and Jack Valenti Clinton, Bill Clinton, Bill, and TV rating system (U. S.) Clinton administration, and TV rating system (U. S.) Gore, Al, and TV rating system (U. S.) McCain, John, and TV rating system (U. S.) Lieberman, Joseph, and TV rating system (U. S.) FCC FCC, and TV rating system (U. S.) Markey, Ed, and V-chip Hall, Jane FCC Chairman Backs Bill on TV Content 25990 Hall, Jane Senators Push Content-Based TV Ratings... Los Angeles Times
Feb. 28, 1997
A 4A This article deals with political pressures exerted on the television industry to adopt a rating system for its programs. The U. S. Senate held hearings on this issue in late February, 1997. Motion Picture Association of America (MPAA) entertainment classification MPAA self-regulation government hearings Federal Communications Commission (FCC) entertainment, home Clinton, William Jefferson CARA V-chip, and television violence television, and parents telecommunications presidents, and new media censorship and ratings rating system (U.S.) rating system (U. S.) PTA motion pictures home entertainment government regulation Clinton Administration law regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification Gore, Al home, and new media home home television motion pictures and popular culture Valenti, Jack Valenti, Jack, and TV rating system (U.S.) rating system (U. S.), and TV (1997) V-chip television, and rating system (U. S.) television, and V-chip home entertainment revolution home entertainment, and V-chip television, and PTA PTA, and television television, and critics rating system (U. S.), and critics hearings new media Collings, Tim V-chip, and Tim Collings Telecommunications Act (1996) regulation, and television Valenti, Jack, and television television, and Jack Valenti Clinton, Bill Clinton, Bill, and TV rating system (U. S.) Clinton administration, and TV rating system (U. S.) Gore, Al, and TV rating system (U. S.) McCain, John, and TV rating system (U. S.) Lieberman, Joseph, and TV rating system (U. S.) FCC FCC, and TV rating system (U. S.) Markey, Ed, and V-chip Hall, Jane Senators Push Content-Based TV Ratings... 26020 Hall, Jane TV Industry Reportedly Oks New Ratings Los Angeles Times
July 10, 1997
A 1A This article deals with political pressures exerted the Clinton administration and by others in Congress on the television industry to adopt a rating system for its programs. By July, 1997, much of the industry, with a few holdouts, had agreed in principle to a new system. Motion Picture Association of America (MPAA) entertainment classification MPAA self-regulation government hearings Federal Communications Commission (FCC) entertainment, home Clinton, William Jefferson CARA V-chip, and television violence television, and parents telecommunications presidents, and new media censorship and ratings rating system (U.S.) rating system (U. S.) PTA motion pictures home entertainment government regulation Clinton Administration law regulation law censorship and rating system (U. S.) rating system (U. S.) censorship classification Gore, Al home, and new media home home television motion pictures and popular culture Valenti, Jack Valenti, Jack, and TV rating system (U.S.) rating system (U. S.), and TV (1997) V-chip television, and rating system (U. S.) television, and V-chip home entertainment revolution home entertainment, and V-chip television, and PTA PTA, and television television, and critics rating system (U. S.), and critics hearings new media Collings, Tim V-chip, and Tim Collings Telecommunications Act (1996) regulation, and television Valenti, Jack, and television television, and Jack Valenti Clinton, Bill Clinton, Bill, and TV rating system (U. S.) Clinton administration, and TV rating system (U. S.) Gore, Al, and TV rating system (U. S.) McCain, John, and TV rating system (U. S.) Lieberman, Joseph, and TV rating system (U. S.) FCC FCC, and TV rating system (U. S.) Markey, Ed, and V-chip Hall, Jane TV Industry Reportedly Oks New Ratings 42510 Hall, Marie Color: The Magic Spirit in the Home Craftsman
Jan. 1915
27 419-23 This article begins with the quotation "Color is an agent able to produce effects which to the thoughtful mind must always remain wonderful." (no source given)
The author then discusses the importance that color has played throughout history. "Color was first used symbolically in the hieroglyphics of Egypt. In them, the color of an object meant as much to the reader as the object itself. For instance, a certain king, who had always been well and strong, lost his mind in the latter part of his life. In the hieroglyphics, his portrait was colored entirely red in the story of his early life, but later his head was changed to yellow. The red symbolized strength and vitality, while yellow signified disease and pestilence.
"Color played an important part in the religious rites of early peoples. All the colors woven into an Oriental rug were symbolic. The Turk regarded green as a holy color, not to be profaned by believers' or unbelievers' feet -- which accounts for the absence of all green from Turkish rugs. Different countries did not always give the same meaning to colors, but to all white was Purity; black was Evil; blue was Virtue and Truth; and yellow, in China, was Royalty." (419)
The author says that the "spontaneous choice of color" in the home is not always wise. The decorator must take into consideration "the mental influences of color." (420) Rarely is it advisable to use red rooms in public buildings and "almost never in private homes." (421)
This article makes comparisons between color and music. "Just as musical sounds differ in loudness, quality and pitch, so may colors differ in intensity, value and hue...." (422) The author recommends that "Intense color should be used with restraint, for brilliant coloring is pleasing only in small areas...." (423) home emotion decadence color, in literature color, and research on color color, in history color, and theory color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology values color, and values values, and color color, and decadence decadence, and color color, and morality color, and passion color, and sensations media effects color, media effects media effects, and color color, and sensuality lighting lighting, and color color, and lighting color, and music lighting, and theater censorship color, and nationalism advertising and public relations color, and advertising advertising, and color home and new media home, and color color, and home color, and red color, and yellow color, and blue color, and magic color, and reading color, and religion religion religion, and color color, and white color, and black color, and music advertising Hall, Marie Color: The Magic Spirit in the Home 42010 Hall, Mordaunt The Screen: Dialogue and Color New York Times
May 29, 1929
38 Efforts to add speech and color to motion pictures moved forward during the early decades of cinema but as late as 1929 they had hardly achieved perfection according to this reviewer for the New York Times. After watching Warner Bros.’s On With the Show (1929), which used Technicolor and Vitaphone sound, he found that the “dialogue, so jarring on one’s nerves, sometimes comes from cherry-red lips on faces in which the lily and the rose seem to be struggling for supremacy.” motion pictures color sound technology motion pictures, and color motion pictures, and sound technology color, and motion pictures sound technology, and motion pictures phonograph, and motion pictures motion pictures, and phonograph sound technology, and phonograph phonograph color, and Warner Bros. color, and On With the Show (1929) Technicolor color, and Technicolor sound technology, and Vitaphone Warner Bros., and Technicolor Warner Bros., and Vitaphone Warner Bros. Hall, Mordaunt The Screen: Dialogue and Color 42670 Hall, Mordaunt The Screen: Jesus of Nazareth New York Times
April 20, 1927
29 In this movie review, Mardaunt Hall comments on the film's use of color. Cecil B. De Mille’s movie about the life of Jesus, The King of Kings (1927), opens in color with the living quarters of Mary Magdelene. The use of color (Technicolor) here probably was meant to emphasize the sensuous lifestyle of Mary Magdelene (lust, pride, etc.). The film then moves to black and white in depicting Jesus’s life. The Resurrection scene at the end, however, is again in color. In reviewing this film for the New York Times, Hall wrote: “This story opens in a startling and strange way. Instead of gazing upon something gentle, such as Christ delivering the Sermon on the Mount of Olives, one sees in prismatic colors the gilded abode of Mary Magdalene. On leaving this episode, Mr. DeMille takes the spectators to Jesus of Nazareth and soon afterward Christ is seen raising Lazarus from the tomb. A memorable sequence is that in which the boy Mark is made to walk.”
Hall opened his review by writing: “So reverential is the spirit of Cecil B. DeMille’s ambitious pictorial transcription of the life of Jesus of Nazareth, the Man, that during its initial screening at the Gaiety Theatre last Monday evening, hardly a whispered word was uttered among the audience. This production is entitled, “The King of Kings,” and it is, in fact the most impressive of all motion pictures….” (all quotations, 29) motion pictures color color, and motion pictures motion pictures, and color DeMille, Cecil motion pictures, and King of Kings (1927) color, and King of Kings (1927) color, and technicolor motion pictures, and technicolor technicolor color, and degeneracy color, and immorality values values, and color color, and values Hall, Mordaunt The Screen: Jesus of Nazareth 41460 Hall, Newman The Church and the Theatre Friends' Intelligencer
Nov. 28, 1896
53 48 819-21 This piece begins by Hall saying: "I am here to affirm that the theatre of the present day as a whole is calculated to do moral injury both to performers and spectators, and therefore should not receive the sanction of the Christian Church." (819) The byline reads: "By Newman Hall (of London) as reported in Christian Literature and Review of the Churches." (819) theaters morality children anti-theatrical bias critics critics, religious critics, and theater critics, and actors religion religion, and theater religion, and actors actors, and religion values values, and the stage values, and the theater Great Britain non-USA Great Britian, and antitheatrical bias anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality false leaders false leaders, and actors actors, as false leaders children and media theater, and children children, and theater acting actors audiences censorship theater Hall, Newman The Church and the Theatre 2110 Hall, Peter Technology, Space, and Society in Contemporary Britain Manuel Castells, ed. High Technology, Space, and Society Beverly Hills, CA Sage Publications
1985
41-52 Hall examines the problems associated with deindustrialization in Great Britain. Research on this topic reveals, he maintains, that “the new high technology industries are growing up in regions and in places very different from those in which the older industries are declining.
"Britain’s declining basic industries -- coal, shipbuilding, heavy engineering, textiles -- are strongly concentrated in the regions in which they were originally established in the nineteenth century: Central Scotland around Glasgow, Northeast England around Newcastle upon Tyne and Sunderland, the Northwest around Liverpool and Manchester, and South Wales focused on Sawnsea and Cardiff....
“The new high technology growth, in contrast, has been limited to a few areas outside these major industrial regions, notably, the belt along the M4 motorway from London to Bristol and the region around Cambridge, which Britain’s regional policy makers, located in the Department of Trade and Industry, have traditionally considered to be zones of restraint.” technology nationalism communication revolution communication revolution, and second industrial revolution non-USA general studies nationalism and communication space (spatial) Great Britain communication revolution, and Great Britain second industrial revolution urban studies geography, and communication communication revolution geography space (spatial) geography technology and society Hall, Peter Technology, Space, and Society in Contemporary Britain 4350 Hall, Peter and Ann Markusen eds. Silicon Landscapes Boston Allen & Unwin
1985
See also: office This work notes that Silicon Valley and its imitators in many other cities have brought "industrial renaissance through high-technology job creation," but that little research has been done on this phenomenon. The book attempts to pull together what is known. It is an extended version of a special issue of the journal Built Environment. Hall's opening chapter is new, and analyzes the expanding literature on long waves of economic development. Since the beginnings of the Industrial Revolution, these waves have come roughly every 55 years and have been characterized by the rise of new, innovative industries. Halls suggested in 1985 that we were coming to the end of a fourth wave and that the emerging fifth wave raises questions about its nature and geographical patterns.
There follow papers based on research at Berkeley on the American experience. Annalee Saxenian's "The genesis of Silicon Valley," argues that Frederick Terman's was the dominating presence in the creation of this area. Terman encouraged research, won government contracts, and set the tone for what followed. Essays that follow include: Ann R. Markusen, "High-tech jobs, markets and economic development prospects: Evidence from California"; Peter Hall, Ann R. Markusen, Richard Osborn, Barbara Wachsman, "The American computer software industry: economic development prospects"; and Marshall M. A. Feldman, "Biotechnology and local economic growth: the American pattern." Marc A. Weiss's "High-technology industry and the future of employment" argues that emphasis should be placed on preserving jobs that now exist because high technology is unlikely to be a panacea. Weiss coordinated some of the papers for California Governor Jerry Brown.
The next three chapters deal with the British experience: Ray Oakey, "High-technology industry and agglomeration economics"; Michael Breheny, Paul Cheshire, Robert Langridge, "The anatomy of job creation? Industrial change in Britain's M4 Corridor"; and Tony Taylor, "High-technology industry and the development of science parks."
The final chapter by Hall and Markusen, "High technology and regional - urban policy," contrasts British pessimism and with American optimism on the impact of these new technologies. technology computers materials, and silicon silicon communication revolution second industrial revolution communication revolution materials materials computers values religion non-USA microelectronics labor Great Britain computers and the Internet Silicon Valley Great Britain technology and society microelectronics revolution Terman, Frederick artificial intelligence and biotechnology biotechnology Kondratieff, Nikolai Kondratieff cycles geography, and new media computer chips, silicon Japan labor, and Silicon Valley semiconductors software computers, and software automation, and unemployment geography, and new media environment, and new media M4 corridor, and Great Britain Great Britain, and M4 corridor automation chips, computer computer chips environment geography labor, and new media Hall, Peter and Ann Markusen eds. Silicon Landscapes 600 Hall, Peter Geoffrey and Paschal Preston The Carrier Wave: New Information Technology and the Geography of Innovation, 1846-2003 London and Boston Unwin Hymn
1988
; media effects See also: media convergence See also: mass media This excellent work was the product of two men, Hall, a geographer, and Preston, who was the “Research Officer.” Preston did the basic research and first draft for most chapters except numbers 8 and 13, and part of numbers 6 and 9.
This work discusses five Kondratieff waves. Nikolai Kondratieff was a Soviet economist, whose papers were published in the mid-1920s. Although he was not the first to use the idea of “long waves,” he used them to explain why capitalism experienced major economic crises at about half-century intervals. The authors use the idea of “Kondratieff waves” to discuss the history new information technology (NIT). They have a dual purpose: first, they wish to “throw greater light on the precise nature of the innovative process and its historical contribution to the creation of new industrial traditions, particularly the impact of major new technological systems on economic and social development. Second, their main purpose “is to understand the changing geography of innovation.” One of this work’s strengths is its comparative account of NIT in the U.S., Britain, Germany (and Europe), and Japan.
The authors see five Kondratieff waves. 1) The first was pre-1846, during which time Britain was virtually the only industrial nation. 2) Part Two deals with 1846 to 1895, “the mechanical age.” Here the authors discuss the first electrical innovations-- the telegraph, emerging cable industry, and the telephone. These inventions used weak electrical current. This section discusses not only the U.S. but also the telephone in Europe. In this second Kondratieff wave, Britain “was increasingly challenged by Germany and the USA.”
3) The “electrical age,” from 1896-1947, was an era that utilized high voltage electricity. Prior to 1914, electricity stimulated other inventions and was used primarily in electrical lighting, in tram systems, and in factories. It is “after World War II, that we find the largest absolute growth in the scale of electrical industries.” This section treats many developments related to NIT, some non-electric such as the typewriter. Also covered are batteries, motors, dictation machine, calculating machines, radio broadcasting, and television. In this third Kondratieff, Germany and the USA took the lead over Britain, and “by its end, the United States was indisputably world industrial leader.”
4)The fourth Kondratieff wave, “the electronic age,” runs in this account from 1948 to 2003. Here considered are the transistor (the “core technology”), the computer, other advances in telecommunications, the consumer electronics sector, office technology, semiconductors. The authors write about international developments in the USA, Britain, and Japan. During this period, the United States “retained its leadership but was increasingly challenged by a relative newcomer, Japan,” and observation made in 1988.
5) The fifth Kondratieff wave runs from 2004 into the future, and the authors speculate on the convergence of information technology, the new role of the state, and other significant implications for society of this new world.
Long wave theory as set out in this work has influenced other writers including Peter J. Hugill (Global Communications since 1844: Geopolitics and Technology [1999]). computers nationalism transistors, and integrated circuits labor communication revolution Industrial Revolution materials future and science fiction communication revolution, and second industrial revolution capitalism war non-USA transportation office, and information technology media information technology general studies geography Kondratieff cycles long wave theory Kondratieff, Nikolai information age communication revolution Great Britain Japan Germany Europe Industrial Revolution second industrial revolution electricity telegraph telephones electricity, and high voltage World War II electricity, and electric lighting electricity, and factories electricity, and street cars transportation, and electric trams typewriters batteries motors dictating machines sound recording, and dictating machines calculating machines radio television computers transistors electronic media integrated circuits semiconductors information technology and office telecommunications microelectronics media convergence nationalism and communication sound recording, and dictating machines sound recording computers and the Internet capitalism, and new media future, and new media, office future materials military communication office Hall, Peter Geoffrey and Paschal Preston The Carrier Wave: New Information Technology and the Geography of Innovation, 1846-2003 1660 Hall, Stephen S. Invisible Frontiers: The Race to Synthesize a Human Gene New York Atlantic Monthly Press
1987
From the spring of 1976 to the fall of 1978, three laboratories competed in a feverish race to clone a human gene for the first time, a feat that ultimately produced the world's first genetically engineered drug - the life-sustaining hormone insulin. Invisible Frontiers gives us a behind-the-scenes look at the three main groups at Harvard University, the University of California-San Francisco, and a team of upstart scientists at Genentech, the first company devoted to the use of genetic engineering in the creation of pharmaceuticals. When the dust had settled, one scientist had won a Nobel Prize, many others had become biotech's first millionaires, and the key technologies were in place that set the stage for the human genome project. Hall pulls together the scientific, social and political threads of this story - rivalries between labs, the contest of egos, the influence of commerce on university research, the public worries about where genetic engineering would lead, and the specter of government regulation.
--Wayne Hayes religion values genetics Hayes, Wayne artificial intelligence and biotechnology genetic engineering values, and genetic engineering Hall, Stephen S. Invisible Frontiers: The Race to Synthesize a Human Gene 2180 Hall, Stephen S. Invisible Frontiers: The Race to Synthesize the Human Gene New York Atlantic Monthly Press
1987
This book is based largely on interviews conducted by the author who began writing about science five years before this work appeared. It attempts to reach a non-specialized audience. It does not attempt to give “a definitive history of science,” nor to be “a rhetorical treatise on recombinant DNA, nor does it argue one way or another whether it is glorious or ominous.” The author tries to “give a feel for science as it unfolds, haphazardly, during a historic period in the biological sciences, and it is a cautionary tale in the sense that any human enterprise, of which biology is surely one, nothing is ever quite as anticipated.” genetics future and science fiction artificial intelligence and biotechnology future DNA genetic engineering Gilbert Group Rutter-Goodman Group UCSF-City of Hope Group Eli Lilly & Company Efstratiadis, Argiris Genetech Gilbert, Walter Harvard Biological Laboratories Swanson, Robert Riggs, Arthur Hall, Stephen S. Invisible Frontiers: The Race to Synthesize the Human Gene 1430 Hallin, Daniel C. The 'Uncensored War': The Media and Vietnam Berkeley University of California Press
1986, 1989
Hallin notes that members of the media had “extraordinary freedom to report the war in Vietnam without direct government control: it was the first war in which reporters were routinely accredited to accompany military forces yet not subject to censorship, and it was a war in which the journalists clearly did not think of themselves simply as ‘soldiers of the typewriter’ whose mission was to serve the war effort.”
He contends that reporting on Vietnam was influenced by several factors including a reliance on official sources; focus on the U.S. President, which usually encouraged support for foreign policy; preoccupation with immediate development to the exclusion of context; and the lack of interpretation or analysis.
While most American got news about Vietnam between 1964 and 1972 from television, Hallin argues that it is difficult to measure how such information affected public opinion. Yet it is likely that TV influenced strongly the public’s perception of events. As a visual medium, television showed “the raw horror of war” in a way that print media could not. Television often focused more on conflict and the negative than did print. Early on “television coverage was lopsidedly favorable to American policy in Vietnam....Later television’s portrayal of the war changed dramatically, and there seems little doubt that it must have contributed to the growing feeling of war-weariness in the later years of the war. But television’s turnaround on the war was part of a large change, a response to as well as a cause of the unhappiness with the war that was developing at many levels, from the halls of the Pentagon, to Main Street, USA and the fire bases of Quang Tri province.”
--SV

Daniel Hallin begins with the premise that the media’s perception of the Vietnam War ultimately prevailed over the government’s, but that both perceptions were subjectively constructed. Hallin notes the idea that the Vietnam War marked the “coming of age” of American media, especially television, and his study is engaged in explaining the shift from the nationalist reportage of World War II to a more distrustful coverage characteristic of Vietnam. Although Hallin concedes it would be impossible for a single volume to attempt a comprehensive study of all media coverage in Vietnam, he does offer a representative sampling by first exploring New York Times reportage, and then shifting his focus to the ultimately more-influential television news.
In chapter one, Hallin demonstrates that prior to the Gulf of Tonkin incident, it was relatively easy for the president to control foreign affairs news for two main reasons. First, there existed a certain “bipartisan consensus” that identified foreign policy with national security, thus making it difficult to question the official word from on high. Secondly, Hallin argues, professional journalism itself was interested in “objectively” reporting the “official” news, which meant delivering the governments version of events to the public (24-5). Hallin offers a case study of this sort of journalism when he explicates the New York Times coverage of the Gulf of Tonkin incident, which reflected “precisely how the administration wished its action to appear, as a positive but limited reply forced upon the president by the actions of the enemy.” (70) There was of course no mention of policy change, and Hallin notes the report used “official” sources, focused on the word of the president, and resisted interpretation and analysis. With the Vietnam War, however, the official version of events became troubled as reporters were given unprecedented access to the war front and were free from the sort of routine governmental censorship that marked reportage during World War II.
In chapter two, Hallin explores in more detail the impact of Cold War ideology on foreign news reportage: “It was an age of ideological consensus, and this was true above all in foreign policy. The world view of the Cold War dominated American thinking about international affairs so totally during these years that it became not merely dangerous but virtually impossible for most Americans to question or to step outside of it. Americans simply knew no other language for thinking or for communicating about the world.” (50) While this sort of ideological framework is useful for understanding the position of the media vis-a-vis the government in the years before Vietnam, statements such as this tend to simplify the complex rhetorical realities of the Cold War, thereby suggesting that all behavior may be explained by citing anti-Communist anxieties.
After Hallin discusses the initial coverage of Vietnam in newspapers--particularly the New York Times – he shifts his focus to the “War on Television, 1965-1973.” He notes that because television is a visual medium, it is inherently suited to showing the “raw horror” of war, a capacity that suggests it would portray war more negatively than print media. Hallin offers a corrective to this assumption, however, as he argues that television reportage was not any more objective than print media, and that it was subject to the same social, political, and economic forces that the newspapers were. Thus Hallin challenges the view that television coverage of Vietnam was an uncensored look at the war, and in fact uses this premise to argue that over the course of the war “television’s portrayal of the war changed dramatically, and there seems little doubt that it must have contributed to the growing feeling of war-weariness in the later years of the war.” (110) In order to chart this shift, Hallin performs detailed content analyses of the network coverage of Vietnam from 1965 to 1973, analyses that show by the latter years of the war, television news grew increasingly hostile to the official government view of the war.
In his conclusion, Hallin explores the idea that American media “lost” the Vietnam War by leaking sensitive information to the public. While Hallin acknowledges various well-known leaks that the government claimed harmed national security, he ultimately concludes that “it is not clear that [the outcome of the war] would have been much different if the news had been censored, or television excluded, or the journalists more inclined to defer to presidential authority.” (213) Despite his speculation that the military outcome would have remained the same if the media had retained their pre-Gulf of Tonkin “objective” stance, Hallin ends his study with an insistence on the political importance of the press as the fourth branch of government.
The “Uncensored War” is a useful study for anybody wanting to understand the basic interactions between the government and the media during the Vietnam War, with particular attention to early New York Times reportage and network television coverage.
--Steve Belletto Vietnam War Vietnam War public relations advertising propaganda objectivity journalism news and journalism law censorship and ratings censorship news and journalism war non-USA Belletto, Steve television Vietnam War television, and war propaganda, and Vietnam War Vietnam War, and propaganda Vietnam War, and news news, and Vietnam War television, and Vietnam War Vietnam War, and television journalism, and Vietnam War Vietnam War, and journalism journalism, and objectivity objectivity, and Vietnam War news television television, and news television, and Vietnam War Vietnam War news, and television censorship, and Vietnam War television, and journalism television, and news television, and war news, and television journalism, and television journalism military communication public relations advertising and public relations Hallin, Daniel C. The 'Uncensored War': The Media and Vietnam 3150 Halton, John The Anatomy of Computing Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
3-26 Halton attempts to explain how computing works. He discusses the significance of information processing and then the workings (both hardware and software) of the microcomputer. He was once a professor of Computing Science at the University of Wisconsin, Madison. This piece was taken from a series of articles that appeared between April, 1982 and April, 1983 in the Wisconsin Medical Journal. computers communication revolution archives libraries libraries, and information storage Information Age computers and the Internet microcomputers information processing information storage computers, and programming computers, and society communication revolution computers, and software computers Halton, John The Anatomy of Computing 36130 Halverstadt, Dallas C. Folder: "Motion Picture [Research] Clippings," Box 3, Files of Dallas C. Halverstadt, Harry S. Truman Library, Independence, MO Harry S. Truman Library, Independence, MO A copy of Eric Johnston's congressional testimony, "Film Knows No International Barriers," is in these files. Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects capitalism capitalism, and motion pictures motion pictures, and capitalism Halverstadt, Dallas C. Folder: "Motion Picture [Research] Clippings," Box 3, Files of Dallas C. Halverstadt, Harry S. Truman Library, Independence, MO 41850 Hamilton, Clayton The Art of the Moving-Picture Play The Bookman
Jan. 1911
32 5 512-16 Clayton Hamilton was a well-known drama critics and editor of such publications as The Bookman, Everybody's Magazine, and Vogue. Here Hamilton chided his fellow critics for not recognizing that motion pictures were a new kind of narrative presented in pantomime that deserved serious attention. It is true that the silent film “bereaves the drama of the spoken word,” he said, but “it must be surprising to the literary theorists to learn how much is left how vividly the essential elements of action, character, and setting may convey themselves by visual means alone.” (512) It was “only in handling the element of character that the new art is at a disadvantage in competing with the novel and the drama,” he said. (514)
Compared to the stage, the movies had “immeasurably greater freedom in handling the categories of place and time,” (513) said Hamilton. The possessed the “ability to alter, in the fraction of a second, the point of view from which the story shall be looked upon.” (514)
Hamilton believe that “In this freedom in handling place and time and in shifting the point of view, the moving-picture play resembles the novel much more nearly than it resembles the regular drama.” (514) He went to say that “in handling the element of action, the moving-picture play is more successful than the novel, since its appeal is made directly to the eye instead of the imagination, and it is scarcely less successful than the drama. In handling the element of setting, it is overwhelmingly superior, not only to the novel but to the drama as well….” (514) In dealing with character, both the novel and the drama are better than the motion picture. (515) When the setting and action are paramount, the movie is more similar to the novel than the drama, and superior to both. He compares watching a film to reading in childhood when “we read story-books … not for eloquence or character or thought, but for some quality of the brute incident.” (515) Cinema “carries us back to the boyish age of the great art of telling tales, when stories were narrated nakedly as stories instead of being sicklied o’er with the pale cast of thought.” (516) For Hamilton, who believed that modern fiction dwelled to much on character and “exalted the subjective over the objective,” (516) the moving-picture play was refreshing. This new narrative art form “disembarrasses its stories of psychologising, and tells them in the free and boyish spirit that vivified the epic, the drama, and the novel throughout the centuries before the world grew old.” (516) theater stage motion pictures, and modernity critics censorship words vs. images metaphors actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and printing press motion pictures, as new literary form theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form motion pictures, and novels censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and new way of seeing motion pictures, and drama motion pictures, and nature motion pictures, and character motion pictures, and words motion pictures, and motion pictures, and psychologising Hamilton, Clayton The Art of the Moving-Picture Play 11770 Hamilton, David Technology, Man and the Environment London Faber and Faber Ltd.
1973
This work, which appeared during the energy crisis of the 1970s, attempts "to describe the overall pattern of technology: what technology is, what its effects are on everyday life, how it is changing our world, and the problems its brings." The author has tried to achieve this goal in non-technical language.
"The chief duties of society in managing technology are plain enough," Hamilton writes. They include preventing "over-population and all its attendant hazards; to keep peace; to supply the world's people with food and water and other basic requirements; and to control the effect of Man on his surroundings. Up to now," he concludes, "effort has not matched need in any of these areas."
Hamilton argues that "one major task will be to limit growth," a large task since previous generations "have worshipped economic growth and productivity. The whole ethos of the industrial world and all its development have been based on growth." The author suggests additional readings in a short bibliography. technology information processing energy computers USSR preservation communication revolution communication revolution history, and new media energy non-USA history progress technology and society general studies oil energy crisis plastics ceramics nuclear energy transportation aeronautics and space communication urban studies environment history, break with television information revolution postindustrial society automation computers Great Britain Third World Industrial Revolution Japan values satellites Soviet Union labor computers and the Internet materials Information Age Hamilton, David Technology, Man and the Environment 28580 Hamilton, Denise Church Leaders to Urge Boycott of 'Temptation' Los Angeles Times
Oct. 20, 1988
9 (Ventura County) 1 The article reports that "religious leaders representing 25 churches announced ... that they will urge their congregations to boycott" Martin Scorcese movie The Last Temptation of Christ (1988). corporations values Christianity Universal Pictures Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts critics motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation Hamilton, Denise Church Leaders to Urge Boycott of 'Temptation' 20400 Hamilton, Dorothy Hollywood's Silent Partner: A History of the Motion Picture Assciation of America Movie Rating System doctoral thesis, University of Kansas
1999
This Ph. D. thesis, written largely from published sources, covers the work of the movie industry's Classification and Ratings Administration (CARA). It is critical of CARA and notes that ratings work as a form of censorship because some ratings mean that motion pictures will done much less business at the box office. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures CARA, and motion pictures motion pictures, and CARA classification, and motion pictures motion pictures, and classification rating system (U. S.), and motion pictures motion pictures, and rating system (U. S.) rating system (U. S.), and history of classification, and history of CARA Hamilton, Dorothy Hollywood's Silent Partner: A History of the Motion Picture Assciation of America Movie Rating System 36260 Hamilton, Jack California Movie Morals: Hollywood Bypasses te Production Code Look
Sept. 29, 1959
23 20 80, 83-4 This article discusses the way the movie industry's Production Code is being enforced under Production Code Administration director Geoffrey Shurlock. It notes that in the age of television, there is no longer one "family" audience for the movies but multiple audiences. Hollywood is attempting to keep pace with changing American taste and Shurlock was attempting to interpret the Code in a way that would allow more mature themes to be treated than had been the case in the past. As Stanley Kubrick, then a 31-year-old independent movie producer put it, "The Code has become the loose suspenders that hold up the baggy pants of the circus clown." (80) self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Kubrick, Stanley Hamilton, Jack California Movie Morals: Hollywood Bypasses te Production Code 3830 Hamilton, Mary R. The Use of Historical Records to Inform Prospective Technology Assessments Joel A. Tarr, ed. Retrospective Technology Assessment -- 1976. Dec. 1-4, 1976 Seven Springs Moutain Resort, Champion, PA San Francisco San Francisco Press, Inc.
1977
5-14 The author says that we can learn from history provided that historical events are compiled properly. She offers a methodology for accomplishing this goal. technology technology and society preservation archives history, and new media values libraries libraries, and information storage information storage history history, and technology information storage, and technology values, and technology technology assessment information storage Hamilton, Mary R. The Use of Historical Records to Inform Prospective Technology Assessments 26340 Hamsher, Jane Killer Instinct: How Two Young Producers Took on Hollywood and Made the Most Controversial Film of the Decade New York Broadway Books
1997
This book examines the making of Oliver Stone movie, Natural Born Killers (1994). The marketing strategy for Natural Born Killers exploited the violence and the fact that it had been originally rated NC-17. Stone adopted a variety of styles for effect, using black-and-white, color, video, slow motion, Super -8, and 16mm animations. The movie, billed as a satire, “had its own rules,” the director said. It targeted 18-24 year-old-males who “had grown up on a diet of tabloid news, video games, and MTV.” One goal was to use the underground and alternative media to help create “cult” status for the film by the time it was released. Promoters also tried to connect the story in Natural Born Killers to recent real-life media circuses: the Menendez brothers trial for murdering their parents; the Tonya Harding ice skating scandal; the Rodney King beating by Los Angeles police; and most sensationally, O.J. Simpson’s arrest for the murder of his ex-wife. Stone insisted on including snippets from media coverage of these events in his movie. In the end, Stone --whose contract with Warner Bros. required him to come in with no less than a R rating – made at least five revisions on Natural Born Killers for the movie industry's Classification and Ratings Administration (CARA)and cut five minutes from the original picture. He and the others who worked on the movie believed that the changes “completely destroyed the whole pace and rhythm of the film.” Infuriated by the “intense hypocrisy” of the rating procedure, they considered CARA nothing less than “a de facto censorship board.” Classification and Rating Administration classification self-regulation sexuality sexuality motion pictures, and sexuality motion pictures, and sexuality Classification and Rating Administration (CARA) Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising sexuality motion pictures media effects media violence law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA CARA motion pictures and popular culture motion pictures, and sex motion pictures, and violence public relations public relations, and motion pictures public relations, and Natural Born Killers motion pictures, and sex motion pictures, and violence violence violence, and motion pictures sex, and motion pictures nudity, and motion pictures CARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 advertising language motion pictures, and language nudity CARA, and nudity motion pictures, and nudity Stone, Oliver public relations, and Oliver Stone Stone, Oliver, and public relations autobiography Hamsher, Jane Killer Instinct: How Two Young Producers Took on Hollywood and Made the Most Controversial Film of the Decade 580 Han, Hsu-Erh The Production of Taiwanese Newsreel and Documentary: A Historical Analysis (1945-2000) (Taiwan hsinwen pian yu jilu pian chanchi chih lishih fenhsi) Taipei, Taiwan Master's Thesis, National Chengchi University (Kuo li cheng chi ta hsue)
2000
This is an unpublished master thesis uses a socio-historical approach to examine newsreels and documentaries in Taiwan since 1945. These works reflect the interaction of politics, economics, and culture. This research regards newsreels and documentaries as forms of cultural production, or as modes representing social events that are influenced by politics, the economy, culture, and technology. The recording of news and films in Taiwan can be categorized into several periods: the newsreel (1945 -1971); TV news and TV news-magazine documentaries (1971 - 1984); TV documentaries and independent documentaries (1984~1995); and personal and school documentaries (1995 - ).
-- Amy Chu journalism documentaries news and journalism non-USA Chu, Amy Masters thesis television television, and Taiwan Taiwan Taiwan, and television news, and Taiwan television, and news (Taiwan) news, and television (Taiwan) documentaries, and television (Taiwan) television, and documentaries (Taiwan) newsreels news, and newsreels (Taiwan) news Han, Hsu-Erh The Production of Taiwanese Newsreel and Documentary: A Historical Analysis (1945-2000) (Taiwan hsinwen pian yu jilu pian chanchi chih lishih fenhsi) 1580 Handel, Leo A. Hollywood looks at its audience: A report of film audience research Urbana University of Illinois Press
1950
; The first two chapters of this book deal with the nature of film audience research. Chapter 1 is entitled “The Development and Nature of Film Audience Research,” and Chapter 2 is called “Some Problems with Film Audience Research.” Chapter 12 deals with “The Effects of the Movies.” The author notes (in 1950) that an educational institution subsidized the Payne Fund Studies which "constitutes practically the only attempt so far to gain insight into movies’ social effects.” technology children photography values censorship and ratings values motion pictures media photography and visual communication motion pictures motion pictures, and audiences media effects and motion pictures media effects Payne Fund Studies children, and media effects audiences motion pictures, and media effects values, and motion pictures technology and society children media effects, and children children, and media Handel, Leo A. Hollywood looks at its audience: A report of film audience research 620 Handel, S. The Electronic Revolution Baltimore Penguin Books
1967
Written in 1967, this book is an informative, popular introduction to a complex subject. The author also published A Dictionary of Electronics. Handel argued that electronics will likely “alter our world even more profoundly than the Industrial Revolution.” He defined “electronics” as “the technique of marshaling free electrons for the transmission of images, the recording and reproduction of sound, the storing and treatment of information, and the automatic control of industrial processes. It has become the nerve system of modern power and the brain of modern society.” This revolution gave rise to radar, television, magnetic tape recording, and computers. “On the debit side we see electronics sharpening the weapons of war, invading the privacy of the citizen, corrupting the mass media.” A chapter on cybernetics attempted to show how this new technique could be applied to government. Chapter 3 (“The Growth of Electronics”) and chapter 4 (“The Revolution in Communications”) are particularly interesting as are chapter 5 (“The Universal Eye”), chapter 6 on computers (“Faster Than Thought”), and chapter 13 (“The Continuing Revolution”). R & D computers nationalism magnetic recording second industrial revolution communication revolution recording law, and privacy law preservation war research and development military communication archives history, and new media materials materials magnetic tape computers communication revolution, and second industrial revolution war government history recording, and tape recorders sound recording magnetic tape recording surveillance sound recording, and magnetic tape libraries libraries, and information storage Information Age history general studies electronic media Industrial Revolution second industrial revolution history, break with communication revolution information storage information processing radar television magnetic recording, and tape magnetic tape recording sound recording, and magnetic tape computers and the Internet computers, history of privacy cybernetics government, and cybernetics cameras surveillance recording, and sound nationalism and communication government artificial intelligence and biotechnology computers and the Internet military communication military, and electronics privacy, and electronic media Handel, S. The Electronic Revolution 15420 Handley, Charles W. History of Motion Picture Studio Lighting Raymond Fielding, ed. A Technological History of Motion Pictures and Television: An Anthology from the Pages of the Journal of the Society of Motion Picture and Television Engineers Berkeley University of California Press
1967
120-24 This article, which is reprinted in Fielding's book, explains that Cooper Hewitt mercury lamps installed at Biograph as early as 1905. “In the earlier serious attempts to set lighting the cameraman worked with old-type, street-lighting carbon arcs and banks of Cooper-Hewitt mercury tubes placed directly overhead and at angles in an attempt to obtain a flat, diffused light all over the set. Cooper-Hewitt mercury lamps were installed in the Biograph Studios, New York, as early as 1905. Overall exposure requirements, lack of adequate equipment and economics made anything but flat lighting difficult, if not impossible to attain.
“It was known by the cameramen that added interest, improved perspective, increased illusion of depth and much greater dramatic effect would be obtained if they could skillfully utilize powerful light sources that would give them the effect of a one-source lighting such as could be obtained from the sun under ideal conditions, but the industry had not yet attained the position where such specialized equipment could be properly designed and made.
“The time finally arrived when the public had accepted the silent pictures and fortunes were being made in production. This brought competition, which in turn opened the door for the cameraman to take some chances, to try anything he could get his hands on, to use his creative ability without fear of sudden replacement by a penny-wise management. In 1912, white flame carbon arcs replaced the low-intensity enclosed arcs at Biograph.
“One of the cameraman’s first demands was for a controllable light source that would give him twice the power and twice the penetration capacity of anything he had. His only source of equipment was to follow precedent and adapt from other field as had been done with the street-lighting carbon arcs and the Cooper-Hewitt mercury banks.
“Carbon-arc floodlamps, better adapted to floor light than the other equipment, were obtained from the graphic-arts and still-photographic fields….” (p. 121)
Handley originally presented this work as a paper on May 4, 1954, at the Society of Motion Picture and Television Engineers convention in Washington, D. C. theater stage fame fame celebrity celebrity culture words vs. images actors acting motion pictures motion pictures, and technology motion pictures motion pictures, and studio lighting modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form electricity lighting mercury vapor electric light lighting, and Cooper Hewitt lighting, and mercury vapor motion pictures, and lighting motion pictures, and Cooper Hewitt lighting acting, and lighting lighting, and acting motion pictures, and stars motion pictures, and celebrity motion pictures, and fame fame, and motion pictures celebrity, and motion pictures celebrity culture lighting, and flame carbon arcs Hewitt, Peter Cooper Handley, Charles W. History of Motion Picture Studio Lighting 60 Hansen, Miriam Benjamin, Cinema and Experience: 'The Blue Flower in the Land of Technology' New German Critique
Winter, 1987
40 (Special Issue on Weimar Film Theory) 179-224 motion pictures Benjamin, Walter motion pictures, and modernity modernity modernity, and motion pictures Hansen, Miriam Benjamin, Cinema and Experience: 'The Blue Flower in the Land of Technology' 3680 Hanson, Dirk The New Alchemists: Silicon Valley and the Microelectronics Revolution Boston Little, Brown and Company
1982
This work explores the history and consequences (intended and unintended) of the microelectronics revolution. Hanson (like Arthur C. Clarke) observes that microprocessors were being put into almost every piece of equipment. The ramifications of such innovations cannot be predicted. The author notes that "in fact, the revolutionaries of Silicon Valley cannot be fully aware of what they are doing because they can never foresee all the ways in which each new generation of digital devices will be put to work by creative users. The first microprocessor was intended for use in a Japanese calculator, nothing more. By 1980 the industry had delivered more than ten million microprocessors, and a complete listing of all the way in which they are used would fill a telephone book. This explosion of applications was neither intended nor expected....."
Hanson's opening chapter begins with Thomas Edison. Chapter Two looks at World War II and the origins of electronic computers. Chapter Three considers solid state research and the early semiconductor industry. Chapter Four deals with the rise of Silicon Valley and the rise of a new "priesthood." Chapters Five and Six explore the manufacture of computer chips and microchips. Chapter Seven places Silicon Valley in an international context. Chapter Eight explains how the microelectronics revolution has affected consumers and the arrival of the home computer. Chapter Nine treats telecommunications. Chapter Ten discusses the microprocessor and "the hidden costs of automation." Chapter Eleven is about electronic warfare and "electronic warriors." Chapter Twelve concludes by considering artificial intelligence and the future of Silicon Valley.
The notes to each chapter of this book have an informative one- or two-paragraph discussion of sources for theme covered. R & D entertainment computers corporations materials, and silicon nationalism microprocessing entertainment, home photography transistors, and integrated circuits research and development war communication revolution second industrial revolution communication revolution home entertainment materials future and science fiction war home, and new media home World War II photography and visual communication computers and the Internet computers, personal computers patents home, and information technology microelectronics information technology computers and the Internet military communication artificial intelligence and biotechnology microelectronics revolution microprocessors Silicon Valley future Edison, Thomas World War II, and computers World War II, and research and development solid state integrated circuits computer chips information technology, and consumers personal computers computers, personal information technology, and home experts telecommunications general studies communication revolution automation, and microelectronics revolution AT & T Bell Laboratories transistors Colossus De Forest, Lee cybernetics electricity electronic media General Electric Company IBM semiconductors Noyce, Robert patents, and microelectronics photolithography Tesla, Nikola Texas Instruments Company Turing, Alan Univac Weizenbaum, Joseph Westinghouse Corporation Wiener, Norbert Eniac Enigma bibliographies, and microelectronics revolution bibliographies, and military communication bibliographies, and artificial intelligence nationalism and communication automation home, and new media bibliographies digital media digitization silicon home, and computers electronic warfare military, and electronic warfare warfare, electronic materials labor Hanson, Dirk The New Alchemists: Silicon Valley and the Microelectronics Revolution 41280 Hanssen, Eirik Frisvold Early Discourses on Colour and Cinema: Origins, Functions, Meanings Stockholm, Sweden Department of Cinema Studies, Stockholm University
2006
color color, and motion pictures motion pictures, and color sound recording sound recording, and color sound recording, and motion pictures motion pictures, and sound recording color, and Sergei Eisenstein color, and Kinemacolor Kinemacolor color, and theory color, and Goethe sexuality sexuality, and color films color, and sexuality motion pictures Hanssen, Eirik Frisvold Early Discourses on Colour and Cinema: Origins, Functions, Meanings 26520 Hapgood, Norman Will Hays and What the Pictures Do to Us Atlantic Monthly
Jan. 1933
151 75-84? Clipping in Will H. Hays Papers, Indiana State Library, Indianapolis, IN This piece reflects on Will Hays, then president of the Motion Picture Producers and Distributors Association, and what influence movies might have on America. A clipping of this article is in the Will H. Hays Papers, Indiana State Library, Indianapolis, IN. motion pictures media effects law censorship and ratings censorship motion pictures and popular culture Hays, Will H. Hays, Will H., and background Hays, Will H., and censorship censorship, and Will Hays media effects, and motion pictures Hapgood, Norman Will Hays and What the Pictures Do to Us 6250 Happé, L. Bernard Basic Motion Picture Technology New York Communication Arts Books, Hastings House
1971
The opening chapter of this book provides a useful history of movie technology. It deals with changes in film, sound technology, the use of color film, wide screen movies, and television. Page 51 attempts to summarize “present-day [1971] practice.” A solid introduction to this topic. motion pictures motion pictures, and technology motion pictures motion pictures, and technological innovations motion pictures, and sound motion pictures, and widescreen motion pictures, and television color motion pictures, and color motion pictures, and television television television, and motion pictures Happé, L. Bernard Basic Motion Picture Technology 41110 Hardy, Forsyth The Color Question Cinema Quarterly
Summer, 1935
3 4 231-37 color color, and emotion Hardy, Forsyth The Color Question 34690 Hardy, Forsyth ed. and comp. Grierson on Documentary London Faber and Faber, Ltd
1946, 1966
This work focuses on the work of John Grierson, an important influence the development of documentary filmmaking and the use of film for social commentary. underground cinema Grierson, John motion pictures 16mm sound recording motion pictures, and 16mm underground media underground films motion pictures and popular culture motion pictures, and history of motion pictures, and avant-garde films underground films, and motion pictures 16mm 16mm, and avant-garde films documentaries motion pictures, and documentaries television videotape magnetic recording magnetic recording, and documentaries cinéma vérité cameras cameras, 16mm 16mm cameras documentary films, and 16mm motion pictures, and 16mm motion pictures, and documentaries lighting lighting, and 16mm cameras lighting, and portable cameras sound recording sound recording, and 16mm cameras 16mm cameras, and sound recording color color, and 16mm film news and journalism television television, and 16mm cameras television news, and 16mm cameras photography and visual communication Great Britain non-USA non-USA, and documentary filmmaking Great Britain, and documentary filmmaking television, and videotape videotape, and television television, and videofreex sound recording, and 16mm 16mm, and sound recording photography magnetic tape Hardy, Forsyth ed. and comp. Grierson on Documentary 33220 Hardy, Ralph W. F. Biotechnology: Status, Forecast, and Issues Anne G. Keatley, ed. Technological Frontiers and Foreign Relations Washington, D. C. National Academy Press
1985
191-226 Hardy writes that many describe biotechnology as "an infant to be king technology," and view it "as the next major technological opportunity." (191) He discusses new developments in biotechnology and related ethical concerns. He considers the impact on health care products and on agriculture. He emphasize the importance of developing world leadership in this area and it potential impact on international relations. Goverment support for research and development in this area will be important. This essay is based on published sources. R & D Reagan administration Reagan, Ronald nationalism values values, and biotechnology nationalism and communication artificial intelligence and biotechnology capitalism research and development biotechnology Reagan, Ronald, and technology Reagan administration, and technology Reagan administration, and foreign relations foreign relations, and Reagan administration Cold War Cold War, and technology Reagan administration war Hardy, Ralph W. F. Biotechnology: Status, Forecast, and Issues 33620 Haring, Kristen The 'Freer Men' of Ham Radio: How a Technical Hobby Provided Social and Spatial Distance Technology and Culture
Oct. 2003
44 4 734-61 Abstract from Technology and Culture: "The hobby of amateur radio-communicating by wireless with individuals around the world-focused on technology. At the same time, however, it served important social functions in the lives of participants. This article analyzes hobbyists' rhetoric about family life and household space to document how men operating "ham" radios in mid-twentieth century America altered the social geography of middle-class homes. During a postwar period of sexual identity anxiety and when women controlled domestic environments, ham radio strengthened men's claims on masculinity and privacy. Amateur radio operators developed a distinct technical identity, based in personal identity and material culture, that allowed them to simultaneously achieve social and spatial distance." democracy women radio radio, amateur radio, wireless communication wireless communication women, and amateur radio radio, and women home and new media radio, and home home, and amateur radio sexuality, and amateur radio home sexuality Haring, Kristen The 'Freer Men' of Ham Radio: How a Technical Hobby Provided Social and Spatial Distance 3030 Harman, Chris How to Fight the New Technology Tom Forester, ed. and intro. The Microelectronics Revolution: The Complete Guide to the New Technology and Its Impact on Society Oxford, Eng.; and Cambridge, MA Basil Blackwell Publisher; and MIT Press
1980, 1981
391-407 See also: office The British Socialist Workers Union called for full-scale opposition to microelectronic technology. This an excerpt from their pamphlet, New Technology and the Struggle for Socialism (1979). It give activists detailed steps to block new technology. computers communication revolution second industrial revolution communication revolution non-USA microelectronics labor computers and the Internet automation Great Britain Luddism socialism microelectronics revolution labor, and socialism microelectronics revolution, and unemployment critics labor labor, and new media labor, and microelectronics Harman, Chris How to Fight the New Technology 28060 Harmon, Amy Studios Using Digital Armor To Fight Piracy New York Times
Jan. 5, 2003
A A1, A21 This article examines the ways in which studios are attempting to encrypt digital movies to protect them from piracy. independent moving making projection preservation motion pictures history, and new media digital cinema digital cinema law censorship and ratings censorship history motion pictures and popular culture digital media motion pictures, and digital indepedent moviemaking, and digital new media motion pictures, and new media new media, and motion pictures history, break with history, and digital movies censorship, and digital movies projection, digital digital projection digital movies digital movies, and encryption DVDs DVDs, and pirarcy digital movies, and piracy DVDs, and encryption digitization history Harmon, Amy Studios Using Digital Armor To Fight Piracy 38500 Harmsworth, Alfred The Simultaneous Newspaper of the Twentieth Century North American Review
Jan. 1901
172 530 72-90 The author, who at the time was the editor of the London Daily Mail, begins by saying that in 1884 there were 29 daily newspaper in New York City and 28 in London. (72) He notes that a number of technological improvements have changes the press -- the telegraph, telephones, electrotyping, "process engraving," and improved transportation, and that the number of illustrations in papers is increasing and likely to increase during the next twenty years. (73) He comments on the problems with using half tones -- "the present imperfections of the printing press often reduce them to mere smudges." (74) Harmsworth asserts that the best intellects are not drawn to journalism. (76) He notes that the "whole tendency of the times, both in America and Great Britain, is toward the concentration of great affairs in the hands of a few." (81) His vision of the twentieth century paper is one that would be published simultaneously in several cities at once. Distribution still posed problems for this kind of paper. "Distribution over a wide area by means of special newspaper trains has its obvious limitations," he writes. (83) Still, such a widely distributed paper published in morning and evening editions would have advantages. "Such a national newspaper would have unrivalled powers of organization in all directions." (85) Such a paper could resist the temptation to publish "non-news," or what the author calls "trivial and unimportant items." (86) journalism entertainment, and journalism entertainment democracy newspapers, and democracy democracy, and newspapers news and journalism critics critics, and newspapers newspapers, and critics critics, and journalism journalism, and critics modernity modernity, and newspapers newspapers, and modernity new way of seeing nationalism and communication newspapers, and nationalism nationalism, and newspapers newspapers, and half tones photography, and half tones newspapers, and illustrations photography and visual communication photography, and printing presses newspapers, and photography photography, and newspapers non-USA non-USA, and journalism Great Britain Great Britain, and journalism journalism, and Great Britain newspapers, and Great Britain Great Britain, and newspapers journalism, and entertainment entertainment, and journalism critics critics, and newspapers nationalism photography Harmsworth, Alfred The Simultaneous Newspaper of the Twentieth Century 12110 Harp, Elmer Jr. ed. Photography in Archaeological Research Albuquerque University of New Mexico Press
1975
This book contains essays by archaeologists and professional photographers on how photography has strengthened and enriched archaeology. The work is slanted toward archaeologists who are amateur photographers (as opposed to those who can hire professional photographers).
The work is divided into four parts and ten chapters. Part I, “General Purposes,” has two chapters. Elmer Harp, Jr. attempts a “brief consciousness-raiser” in “The Objectives of Archaeological Photography.” He notes, for example, that archaeological research “can be aided immeasurably by a bird’s-eye view and aerial photography.” Martin L. Scott discusses “Sensitive Materials, Photographic Equipment, and Permanence of the Photographic Record.” His chapter considers not only camera equipment but also how best to preserve photographic records.
Part 2, “Expedition Planning and Exploration,” has three chapters. Otis Imboden, Jr. and Jack N. Rinker deal with “Photography in the Field.” Harp contributes a chapter on aerial photography in archaeological research, and Rinker writes about “Environmental Analysis by Air Photo Interpretation.”
Part 3, “In the Field,” has three chapters: “An Experiment in Multispectral Air Photography for Archaeological Research,” by J. N. Hampton; “Elevated and Airborne Photogrammetry and Stereo Photography,” by Julian H. Whittlesey; and “Underwater Photography and Photogrammetry,” by Donald M. Rosencrantz.
Part 4, “In the Laboratory,” has a chapter by David Sanger on “Laboratory Photography.” Two appendices follow including “Communication, Photography, and the Archaeologist,” by Peter Deckert. photography preservation history and new media preservation new media history, and new media cinema motion pictures celluloid photography and visual communication photography photography, and archaeology archaeology archaeology, and photography history, and photography new media, and history preservation, and photography photography, and historic preservation cameras cameras, and lenses cameras, and lighting film photography, aerial aeronautics and space communication history materials Harp, Elmer Jr. ed. Photography in Archaeological Research 34290 Harper, Christopher Journalism in a Digital Age Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
271-80 Harper writes that "online journalism stands to alter dramatically the traditional role of the reporter and editor. First, online journalism places far more power in the hands of the user, allowing the user to challenge the traditional role of the publication as the gatekeeper of news and information.... Second, online journalism opens up new ways of strorytelling, primarily through the technical components of the new medium.... Third, online journalism can provide outlets for nontraditional means of transmitting news and information." (272) The author concludes that "a variety of defining moments lies ahead for online journalism." (279)
The volume in which Harper's chapter appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality present mindedness nationalism Internet global communication community news and journalism nationalism and communication democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors capitalism capitalism, and digital media digital media, and capitalism Internet, and capitalism capitalism, and Internet globalization censorship and ratings news, and censorship news, and time time and timekeeping time, and news television television, and news history and new media presentism nationalism and communication journalism, and nationalism nationalism, and journalism news, and television nationalism, and digital media digital media, and journalism journalism, and digital media gatekeeping history journalism news Harper, Christopher Journalism in a Digital Age 24170 Harrington, Richard The Capitol Hill Rock War: Emotions Run High as Musicians Confront Parents' Groups at Hearing Washington Post
Sept. 20, 1985
B 1B This article involves the controversy rating lyrics in rock music. For the Reagan administration, this issue was apiece with its war on substance abuse and pornography. rock n' roll government hearings presidents, and new media Reagan administration values sexuality government substance abuse rock music lyrics drug abuse pornography Reagan administration, and rock music lyrics Reagan administration, and pornography Reagan administration, and drug abuse drug use, and Senate hearing (1985) Senate hearing, and Hollywood (1985) critics values hearings Harrington, Richard The Capitol Hill Rock War: Emotions Run High as Musicians Confront Parents' Groups at Hearing 24180 Harrington, Richard Is It Cleaner in the Country? Washington Post
Oct. 16, 1985
B 7B This article deals with the controversy over rating rock music lyrics and the Reagan administration's effort to eliminate substance abuse and pornography in mass entertainment. rock n' roll government hearings presidents, and new media Reagan administration values sexuality government substance abuse rock music lyrics drug abuse pornography Reagan administration, and rock music lyrics Reagan administration, and pornography Reagan administration, and drug abuse drug use, and Senate hearing (1985) Senate hearing, and Hollywood (1985) values critics hearings Harrington, Richard Is It Cleaner in the Country? 1590 Harris, Neil Cultural Excursions: Marketing Appetites and Cultural Tastes in Modern America Chicago University of Chicago Press
1990
Each chapter in this insightful book deals with a different facet of American society and culture. Chapters 14-17 deal especially with visual communication. Chapter 14, “Iconography and Intellectual History: The Halftone Effect,” draws on Estelle Jussim’s work. The use of half tone was “an iconographical revolution of the first order, and should be treated with careful attention. The single generation of Americans living between 1885 and 1910 went through an experience of visual reorientation that had few earlier precedents, although it would be matched by some twentieth-century experiences. The one earlier parallel that seemed to possess even greater scope and capacity for influence took place almost four centuries before, with the introduction of printing as a new code for transmitting verbal information....” Harris notes that intellectual historians have done little with visual processing because it has been perceived as “artistically suspect, commercially tainted, technically cumbersome, and intellectually isolated....” The book’s remaining chapters deal with “Color and Media: Some Comparisons and Speculations,” “Pictorial Perils: The Rise of American Illustrations,” and “Designs on Demand: Art and the Modern Corporation.”
“Color and Media” (chapter 15) looks at the use of and criticism of color in 1) prints, and the illustration in books and magazines; 2) the arrival of color in motion pictures; and 3) the coming of color television. Harris is especially interested in the contemporary reactions to these advances. Although Harris admits that this “survey may possess more interest than the destination,” he does have interesting things to say: e.g., his discussion of the first Technicolor films (efforts to make color films appeared as early as 1894; first color feature film dates from 1921), and the impact that sound technology had on color in film. Harris notes that by 1920, 80 percent of Hollywood’s features were being tinted, in a variety of colors. Prior to World War II, only a minority of films were in full color, though. Only about one percent of homes had color TV in 1961 when NBC began to broadcast all its programs in color. By 1963, 60,000,000 homes had TVs but only 1.2 million had color sets. The percentage of color sets rose from three percent in 1963 to 33 percent by 1969. “By the early seventies, eight years after the boom began, color dominated all network broadcasting,” Harris observes. illustrations photography preservation communication revolution news and journalism books, periodicals, newspapers history, and new media news and journalism history television television, and color motion pictures magazines iconography icons history photography and visual communication culture color half tones history, break with communication revolution Jussim, Estelle icons iconography prints illustrations motion pictures, and color television, and color magazines, and color Technicolor television, and color (NBC) television, and color sets (1960s) capitalism, and art art, and capitalism color, and history of color, and television color, and motion pictures books, and color color, and books color, and magazines books, periodicals, newspapers capitalism color art books graphics revolution television motion pictures and popular culture television, and color Harris, Neil Cultural Excursions: Marketing Appetites and Cultural Tastes in Modern America 6900 Harris, W. S. Life in a Thousand Worlds Harrisburg, PA; and New York The Minter Company; and Arno Press
1905, 1971
future and science fiction television, and history of television television, and origins future Harris, W. S. Life in a Thousand Worlds 15520 Harrison, Louis Reeves Eyes and Lips Moving Picture World
Feb. 18, 1911
8 7 348-49 “The actor must be considered, and an entirely new art is coming into existence through facial expression in the photoplay….” (p. p. 348) (my emphasis)
“In primitive exhibitions, the movement of human beings in a picture was enough to enlist interest for a while, then it became necessary to provide a framework of incident for a dramatic situation…. In an effort to equal or excel the older art, it has been found that character portrayal is necessary to enforce an idea, and the idea is the starting point of every serious effort to enlist the attention of the audience…. (p.348)
“In carrying the thought from the screen to the audience, the actor is the essential medium of transmission. He must be fitted to the situation by costume, show his attitude towards other characters which suggests love, jealousy, hatred or other emotional tendency, but the obvious emotional attitude is easy to portray compared to the masked one. We all wear masks in our daily intercourse, but while this can be imparted by other means, the eyes and the lips are most effective in facial expression of any kind, whether the emotion be open or subdued. Nearly all the varieties of emotion find outlet through the eyes and lips, they center all attention when a woman of in- 348/349 teresting personality is on the stage, possibly for reasons explained by the poet:” (poem follows on man’s reaction of woman’s eyes and lips) (my emphasis)
 “We are not permitted to see the sealing of love in the final scenes because the actors and actresses have the microbe scare and only pretend, but they can really talk to us if they will. Language forms the readiest instrument of thought and words may be suggested by labial expression when freed of sentiment as well as when encumbered by emotion, whether in cynical comment or outburst of heartburning, they carry the effect to the close observer. Why take such pains? The balance between failure and success in a picture play is very delicate, the audience is sensitive to details infinitely small.” (my emphasis) In the movie theater, “every detail of a picture is closely scrutinized by those who sit in the dark with attention concentrated on the one light spot in the auditorium, so the highest development of the photo-play may come when the performers speak all the way through on the actual stage. This is being done in a way, but the lines to be spoken may, eventually, become a part of the written scenario. (p. 349)
“As for the eyes, I have seen an accomplished young actress portray the vanishing of human reason so vividly that its light seemed to die out as we watched her… Every actor and actress should study the use of these potent influences. There characterizations seem real or unreal, rich or impoverished, according to our susceptibility and their powers of suggestion.” (249) theater stage fame fame celebrity actors acting celebrity culture fame personality motion pictures, and new art form motion pictures, and psychology theater and stage motion pictures, and stage stage, and motion pictures motion pictures, and celebrity celebrity, and motion pictures fame, and motion pictures motion pictures, and fame motion pictures, and stars audiences media effects motion pictures, and audiences audiences, and motion pictures media effects, and audiences media effects, and motion pictures motion pictures, and media effects sexuality motion pictures, and sexuality sexuality, and motion pictures violence motion pictures, and violence violence, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and acting acting, and facial expression motion pictures, and not facing camera acting, and not facing camera acting, and realism motion pictures, and realism in acting cameras acting, and cameras cameras, and film acting motion pictures, and stars motion pictures, and stars (origins) Harrison, Louis Reeves motion pictures Harrison, Louis Reeves Eyes and Lips 15500 Harrison, Louis Reeves A Great Motion Picture and Its Lesson Moving Picture World
June 4, 1910
6 22 933 The appeal of women and personality (sex appeal): “What is it that goes over into the hearts of thousands who attend picture plays?
“What is it that reaches out and get a grip on human hearts at business, political or social gatherings?
“What else is it but the genial glow , the thrilling magnetism, of an exuberant and interesting personality? (my emphasis)
 “No one ever looks twice at a man’s picture. As a mere thing of beauty, he is usually unmanly; as a creature of forceful character, he usually unlovely. We look to woman for what beautifies existence, and, as interest in picture plays is stimulated by what is seen, it become centered on the heroine of the story. To suit the role, she must be lovable. Thoughtful appreciation of what is required by the role and good taste in things feminine count, but, when she delights the eye and stirs the irresponsible pulses of responsible men with a dazzling array of potent womanly attributes, she wins because she represents the ideal creatures of our heartaches and dreams. She goes over. Any man who does not think so should send for Doctor Osler.” fame fame celebrity actors acting photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, silent motion pictures, and oratory fame celebrity culture motion pictures, and fame motion pictures, and celebrity motion pictures, and stage actors celebrity, and motion pictures fame, and motion pictures status of actors actors, and status of personality motion pictures, and personality personality, and motion pictures women women, and motion pictures motion pictures, and women acting, and motion pictures motion pictures, and acting photography and visual communication women women, and photography photography, and women women, and motion pictures motion pictures, and women sexuality photography, and sexuality sexuality, and photography sexuality, and personality personality, and sexuality motion pictures, and stars motion pictures, and stars (origins) Harrison, Louis Reeves Harrison, Louis Reeves A Great Motion Picture and Its Lesson 39140 Hart, E. Jerome Bolshevism in the Theatre Forum
July 1921
66 48-54 This article discusses an "insurgent movement" in theater and links bolshevism with "stage revolutionaries." "The insurgent movement in the theatre has its chief centre in Italy, where it may be said to have been taken by Gordon Craig some two score years ago. It is developing into something so anarchic and grotesque withal that it would be hardly necessary to deal with it here were not its theories and practice extending to the American stage. We are getting what is called the expressionist play, the synthetic drama of Marinetti, Ricciardi's theatre of color, the grotesque theatre, and Scardonai's dramatic polyphonism, or new dramatic unity, in which last we are told dialogue is to be deprived of its supremacy and made to fuse with other elements of the play -- the pauses of silence, the words, the gestures, lights, colors, all of which will combine to establish 'a cosmic zone.'" (48)
Hart comments on the use of color -- in this case red -- as a "psychological agent." "A striking example of the insurgent movement in play producing was afforded by the Arthur Hopkins production of Shakespeare's 'Macbeth,' which caused many animadversions as well as reopened the old controversy on the right and proper method of staging a Shakespeare play. It was obvious in the production referred to that those responsible took several hints from Ricciardi, using color not solely as a decorative element but as a psychological agent. The strongly prevailing color was red; the witches wore red cloaks, Macbeth's dull red cloak in the first act became a vivid scarlet robe when he was king, while Lady Macbeth's gown was the brightest crimson. This would have been well enough if there had not been other and more obscure elements in the staging which diverted attention from the play and puzzled and offended." (49)
The author condemns the revolution in theater whereby the play producer has overtaken the actor- manager. "A few years ago we used to hear a great deal of grumbling about the tyranny of the actor-manager, his unwarranted assumption of principal parts and monopoly of the limelight, and so on. Today we are witnessing a complete revolution. The actor-manager is overthrown and in his place reigns the play-producer. It is something much worse than the old autocracy. In may, in fact, be compared with the substitution of Bolshevism for Czarism. Stage revolutionaries are endeavoring to overthrow all our accepted ideas and to shatter our most cherished imaginings. They are deliberately attempting to crush our affection for fine verse eloquently delivered, for strong drama effectively played, and fierce passions movingly portrayed, and are substituting for them bright lights, profound shadows, weird shapes and freak costumes." (50)
The article concludes by saying that "it is time ... to put the producer where he belongs, in the background, and to restore the actor to his rightful 53/54 place. In doing this with respect to Shakespeare's plays we shall be effecting a stage reform of the first importance." (53-54) theater religion religion, and color magic emotion decadence censorship censorship censorship color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color color, and decadence decadence, and color color, and morality color, and immorality color, and passion color, and sensations theater and stage color, and theater theater, and color Ricciardi, Achille, and color color, and Achille Ricciardi Italy non-USA Italy, and color in theater non-USA, and color in theater lighting lighting, and theater theater, and lighting censorship and ratings color, and censorship censorship, and color magic, and color color, and magic color, and music media effects color, media effects media effects, and color color, as psychological agent color, and bolshevism theater, and bolshevism bolshevism, and theater theater Hart, E. Jerome Bolshevism in the Theatre 34280 Hartley, John The Frequencies of Public Writing: Tomb, Tome, and Time as Technologies of the Public Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
247-69 "The conjunction of time and journalism was thought to be significant to national identity," the author writes. "The 'frequency' of new is thus a weighty matter." (248) He goes on to say that over its long history, American "journalism has shown a consistent tendency to drift upward in frequency." (251) He discusses the frequency with with different types of news appear. These range from a second or less to magazines that appear weekly or quarterly, to academic writing that has a longer time frame. Hartley concludes:
"In public address, speed is of the essence. Frequency (rather than ostensible content) may be a major determinant of what a give piece of writing means. Over the longue durée of history, public communication has exploited differences in frequency to articulate different types of meaning. Apparently revolutionary periods may be explicable by reference to changes in communicative speed and also by investigating changes in the balance between temporal and spatial coordinates of national and personal identity. To understnad what is happening to journalism in the current era of change from spatial (national) to temporal (network) communication, the frequency of public writing is a crucial but somewhat neglected component. It determines what kind of public is called into being for given communicative forms and therefore has a direct bearing on the development of democracy. Changes to technologies of the public have historically tended to increase speed or frequency of communication; democracy itself may be migrating from space-based technologies to faster, time-based ones." (268)
The volume in which Hartley's chapter appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality present mindedness nationalism Internet global communication community news and journalism nationalism and communication democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors capitalism capitalism, and digital media digital media, and capitalism Internet, and capitalism capitalism, and Internet globalization censorship and ratings news, and censorship news, and time time and timekeeping time, and news television television, and news history and new media presentism nationalism and communication journalism, and nationalism nationalism, and journalism news, and television nationalism, and time-based media nationalism, and spatially based media nationalism, and digital media history journalism news Hartley, John The Frequencies of Public Writing: Tomb, Tome, and Time as Technologies of the Public 6910 Hartley, John Understanding News London Routledge
1982
Television, semiotics, and culture are considered here. Hartley notes that news "is a social and cultural institution among many others, and it shares their characteristics in important ways. It is, literally, made of words and pictures, so comprising a specially differentiated sub-system within language... it nevertheless enjoys a privileged and prestigious position in our culture's hierarchy of values." television, and values journalism news and journalism values news television news, and television television, and culture semiotics values, and television values, and news news, and values Hartley, John Understanding News 2530 Hartsough, Denise ed. An Annotated Widescreen Bibliography Velvet Light Trap
Summer 1985
21 75-79 See filed under Velvet Light Trap. This bibliography provides brief annotations of research done about widescreen motion pictures. This entire issues is devoted to American widescreen cinema. widescreen motion pictures bibliographies bibliographies, annotated bibliographies, and widescreen motion pictures motion pictures and popular culture motion pictures, and widescreen widescreen, and motion pictures Hartsough, Denise ed. An Annotated Widescreen Bibliography 630 Harvey, David The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change Cambridge, MA Basil Blackwell, Inc.
1989
Harvey’s opening chapter on “Modernity and Modernism” is insightful. Chapter two deals with “Postmodernism.” Harvey has intelligent things to say about the role of modern mass communication in postmodernism -- especially television.
“There has been a sea-change in cultural as well as in political - economic practices since around 1972,” he writes.
“This sea-change is bound up with the emergence of new dominant ways in which we experience space and time.
“While simultaneity in the shifting dimensions of time and space is no proof of necessary or causal connection, strong a priori grounds can be adduced for the proposition that there is some kind of necessary relation between the rise of postmodernist cultural forms, the emergence of more flexible modes of capital accumulation, and a new round of ‘time- space compression’ in the organization of capitalism.
“But these changes, when set against the basic rules of capitalistic accumulation, appear more as shifts in surface appearance rather than as signs of the emergence of some entirely new postcapitalist or even postindustrial society.”
Harvey offers definitions of modernism and postmodernism, and is good on modernism and history. He also discusses Nietzsche, modernism, and modernism’s inclination to place “art and aesthetic sentiment ... beyond” considerations of “good and evil.” This observation is useful in considering the struggle between morality and artistic creativity in censorship battles relating to books and films during the twentieth century. time and timekeeping time preservation modernism modernity modernism communication revolution history, and new media communication revolution, and second industrial revolution history geography history general studies postmodernism modernity television television, and post-modernism history, break with history, and television space (spatial) time postindustrial society capitalism history, and modernism history, and post-modernism visual communication second industrial revolution capitalism, and postmodernism communication revolution Harvey, David The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change 2390 Harvey, F. K. Mementos of Early Photographic Sound Recording SMPTE Journal
March 1982
91 3 237-44 See filed under SMPTE Journal (1982) (1985). Harvey examines “early contributions to the art of recording sound by photographic methods made by several Bell-related organizations, using mementoes of those contributions as examples. Photographic plates with spiral soundtracks (1884-1885) from the Volta Laboratory of Alexander Graham Bell and his associates are examined. Copies of both variable-density and variable-area examples are shown. Later work done at Western Electric and Bell Laboratories at the advent of talking pictures is discussed, with film clip samples salvaged from early experiments (1923 and 1929) with the light valve system developed by E. C Wente for providing sound on film. Concurrent developments in associated fields are also described.” sound corporations corporations corporations photography Western Electric Company preservation history and new media preservation motion pictures cinema motion pictures celluloid film sound recording history, and sound recording sound recording, and history history, and new media preservation, and sound recording Bell Laboratories photography and visual communication photography, and sound recording sound recording, and photography sound film, and E. C. Wente Western Electric, and sound film film, and sound recording sound recording, and film motion pictures and popular culture motion pictures, and sound recording history materials Harvey, F. K. Mementos of Early Photographic Sound Recording 9070 Hauben, Michael and Ronda Hauben Netizens: On the History and Impact of Usenet and the Internet Los Alamitos, CA IEEE Computer Society Press
1997
This book provides a sort of counterpoint to Where Wizards Stay Up Late and Inventing the Internet each of which focus primarily on the military “wizards” who designed what later became the Internet. Instead of that story, the Haubens focus on the way “Netizens” reshaped the Internet and made it more democratic. The story deals with the creators of Usenet–two graduate students at Duke University. Usenet was explicitly designed as an Arpanet-like network for non-Arpanet users. It grew exponentially after its inception in 1979.
--Mark Tremayne
 This book examines the growing popularity of the Internet and Usenet as a means of political communications worldwide. The Haubens believe that a new online culture is emerging, and that people taking part in this global discussion are making use of communications to enhance democratic principles. The Internet and Usenet are examples of “bottom-up” information providers where each user can communicate directly to the others, bypassing the traditional “top-down” media and government sources. This enables a greater debate and exchange of information, thus strengthening direct democracy.
The book also traces the history of the development of the Internet out of the IPTO projects of the 1950s and 1960s. Most of the projects that led to advances in computing and networking systems came from this Department of Defense program that sponsored research at top universities and laboratories across the nation. The authors pay particular attention to the role of the individual programmers. As the Unix-based coding programs evolved, each researcher had access to the source code and the potential to create flexible new applications and debug existing problems. The authors consider this the source of the network’s democratic and communitarian nature. The ARPANET, which later evolved into the Internet, was devised to allow these researchers to share information freely, and the technology, according to the Haubens, created a forum for unlimited debate and discussion.
The book argues that this trend has continued as more and more people get online. The authors rely heavily on the comments of online users from around the world. It is clear that many people use the Internet and Usenet to gather news and information, to discuss important issues, to organize political or social movements, and to share each other’s culture. It is also clear that the traditional media have been forced to shift some resources to online reporting. Ultimately, according to the Haubens, direct participatory democracy is enabled in ways that were not possible in the past.
The book is a good example of the kind of celebratory attitude that many people have about the Internet and technology in general. It is possible to question, though the authors of this book never do, the extent of this change. Increased discussion of political issues does not automatically mean that democracy is enhanced. There are questions of access to the technology. One can also debate the methods by which “news” on the Internet is produced. The sources that most people look to for accurate news and information are often the same sources that produce newspapers, radio and television broadcasts, and magazines. The book, however, is useful for understanding elements of online culture. Certainly, engaging in this global discussion and relying heavily on the Internet or Usenet for information represents a fundamental change in human communication and creates a platform for a debate of unprecedented scope.
--Rob Rabe R & D computers ARPA research and development war journalism community democracy community news and journalism war news Internet computers and the Internet democracy and media Internet, and history of Tremayne, Mark public sphere Usenet ARPANET military communication Rabe, Rob news, and Internet community, and Internet democracy, and Internet military, and computers military, and Internet Hauben, Michael and Ronda Hauben Netizens: On the History and Impact of Usenet and the Internet 470 Havelock, Eric A. Harold A. Innis: A Memoir Toronto Harold Innis Foundation, University of Toronto
1982
This short, 43-page work came from two lectures Havelock delivered in October, 1978, at Innis College at the University of Toronto. There were sponsored by the Harold Innis Foundation. Havelock, then an emeritus professor at Yale, had taught ancient philosophy, Latin poetry, and Greek drama. He had been an acquaintance of Innis, although not a close friend.
The memoir has two chapters. The first, “A Man of His Times,” is a corrective to Donald Creighton’s 1957 biography, Harold Adams Innis: Portrait of a Scholar, which portrayed Innis as some of an “ivory tower” thinker. Havelock recalled Innis during the Great Depression and World War II as willing to recruit “expert economists for public service” and as an “empiricist and realist” who when he saw Great Britain’s peril during the war “was ready to jettison academic principle in a good cause.” Innis, Havelock argues, “was a man of his time.” Havelock revises Creighton in suggesting that Innis was not always totally committed to scholarship but was also attracted to, and sought, power. Havelock also makes interesting observations about the way in which Innis’s World War I service later influenced his interactions with university colleagues.
Chapter two is entitled “The Philosophical Historian,” and in it Havelock explores Innis’s later thinking and similarities to his own work. Innis’s “later style is aphoristic and disconnected,” Havelock said, and “it slips around and between the conclusions that his interpreter would wish to formulate. He hungrily reads and obsessively excepts a vast mass of historical source materials, some primary, most of it secondary, frequently repeating himself from paper to paper, book to book....” Havelock notes that as applied to the ancient world, Innis’s view about spacial control are related to military and secular aspects of culture while temporal control relates more to maintaining oral traditions and the institutions of religion. For Innis, the “shape of the technology conditions the way in which power is exercised,” Havelock observed. “Of all the technologies observable at work in the historical process, it is the technology of communication which is paramount, in its control over the political process, that is, over space and time.”
Marshall McLuhan provided a brief, two-page preface to this work entitled “The Fecund Interval.” nationalism time and timekeeping writing time history and new media preservation power history information storage history, and new media non-USA history Innis, Harold McLuhan, Marshall political economy present mindedness history, break with communication, and empire nationalism and communication Innis, Harold, and nationalism nationalism, and Harold Innis time space (spatial) power, and temporal bias power, and spactial bias alphabet, and technology writing, and technology alphabet Havelock, Eric A. Harold A. Innis: A Memoir 1440 Hawes, William Live Television Drama, 1946-1951 Jefferson, NC McFarland
2001
Live Television Drama, 1946-1951 is an intensive study of the unique period of television history when the medium was dominated by dramatic theater acted live. Hawes not only conducted dozens of interviews with producers, actors, and writers from this period, but he also drew on the archives of the three major networks: NBC, CBS and ABC. Hawes’ wealth of source material is one of the books greatest strengths, and he puts it to good use to show that during these six years, there was little sense that television was a low-brow medium, since many of the periods top writers and playwrights had scripts converted for live drama.
Before Hawes explores the actual live drama that was broadcast between 1946 and 1951, he first establishes the social and political situation in which these dramas were produced. Hawes first stresses the fact that World War II had a great impact on the early television industry: “By 1944 the turning point was reached in the war, and businesses began contemplating what they would do when it ended. NBC president Niles Trammel told the FCC that the television industry would create jobs for many thousands of men and women in radio manufacturing plants and studios.” (12) By the end of World War II, then, the television industry had a steady supply of people who were at least partially trained in the technical aspects of mass communications, a phenomenon that Hawes suggests allowed for the fertile growth and programmatic experimentation after 1946. Hawes also points out that raw materials, notably copper wiring, were not readily available following the war, so production fell behind technology. Hawes speculates that if production had kept up with technology, the era of black-and-white television could have ended as early as 1951.
After Hawes offer some background history, he outlines the live drama programming of the three networks in a straight narrative fashion. The study is essential for anyone who needs a very detailed, day-to-day account of how a live drama was conceived and executed during this period. Hawes exploits all his primary research to give a nuanced account of such programs as Kraft Television Theatre and Ford Theatre. Hawes charts the interest in providing high-quality dramatic programming, but then explains how this interest was eclipsed by network competition and the need to create formats more congenial to a variety of advertisers. Despite the artistic merit of many of these shows, Hawes suggests that live drama simply could not compete with the diversity and excitement viewers demanded by 1951.
Though this book’s value is in its meticulous descriptions of studio architecture, technical equipment and the personalities of the people involved, it lacks a comprehensive discussion of the social impact of live television drama. Although it gestures towards such a context at various places, Hawes’ study might be best read in conjunction with a work such as Hal Himmelstein’s Television Myth and the American Mind (1994), which is interested in the social and political ramifications of television programming. That said, as an informational resource, Live Television Drama, 1956-1951 is hard to beat--the last two hundred pages consist of lists and descriptions of BBC productions relevant to American television as well as all the CBS and NBC television drama between 1946-1951, a compendium that is in and of itself invaluable to the serious student of American television history.
--Steve Belletto corporations corporations corporations corporations television, and war television, and values values color war Belletto, Steve television values, and television television, and new technology television, and copper wiring color television television, and color television, and live programs NBC ABC CBS World War II World War II, and television television, and World War II values Hawes, William Live Television Drama, 1946-1951 13340 Hawley, Ellis Three Faces of Hooverian Associationalism: Lumber, Aviation, and Movies, 1921-1930 Thomas K. McCraw, ed. Regulation in Perspective: Historical Essays Cambridge, MA Harvard University Press, distributed by
1981
95-123 This insightful essay places Hollywood's efforts at self-regulation into the context of other similar efforts by such businesses as aviation and lumber. law law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and self-regulation regulation, and motion pictures motion pictures, and regulation censorship, and motion pictures censorship, and self-regulation associationalism, Hooverian regulation Hawley, Ellis Three Faces of Hooverian Associationalism: Lumber, Aviation, and Movies, 1921-1930 2280 Haynes, Williams Cellulose: The Chemical that Grows Garden City, NY Doubleday & Company, Inc.
1953
This history of cellulose begins with a useful Chronology (17-26). In chapter 12, “Plastics Pioneering,” the author discusses the invention of celluloid (see esp. 222-38). These is also some discussion of this work of photography and motion pictures. The work also has several appendices dealing with statistics about cellulose-based products. corporations corporations photography References, Statistics, Timelines, Maps References, Statistics, Timelines, Maps motion pictures Hyatt, John Wesley materials cinema motion pictures celluloid film Eastman Kodak war cellulose materials celluloid collodion camphor Eastman Kodak Company film, origins of motion pictures, and celluloid photography and visual communication photography, and celluloid celluloid, and photography celluloid, and motion pictures Hyatt, John Wesley, and celluloid celluloid, and origins plastics plastics, and cellulose paper paper, and cellulose cellulose, and paper rayon World War I World War I, and cellulose World War II World War II, and cellulose timelines timelines, and cellulose timelines, and celluloid statistics paper, and cellulose cellulose, and paper paper Haynes, Williams Cellulose: The Chemical that Grows 13420 Hays, Will H. Address to the Publishers of the United States Will H. Hays Papers
April 26, 1922
Box 16 In this address, Hays, then the new president of the Motion Picture Producers and Distributors of America, argues that motion pictures deserves respect as a medium of serious ideas no less than does the press. Hays assumed cinema’s influence to be profound. Motion pictures, he believed, were not unlike photographs, which when mass produced and circulated in newspapers and magazines had given people new ideas about how to live. The movies were much more powerful agents of change. Their influence on national life, on public taste and conduct, on the dreams and hopes of the young, was “absolutely limitless.” No more potent means existed “to influence the thought of the nation towards common ideals.” Hays assumed that modern media possessed the power to change the way people thought, to implant -- at least indirectly -- “standards of taste and morals and arts in the public mind.” Motion Picture Association of America (MPAA) addresses, Will Hays self-regulation PCA Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA MPPDA motion pictures and popular culture motion pictures addresses Hays, Will H. Hays, Will H., MPPDA, and press MPPDA, and public relations Hays, Will H., and press Production Code Production Code (motion pictures) Hays, Will H. Address to the Publishers of the United States 13440 Hays, Will H. Film As an International Salesman Will H. Hays Papers
May 22, 1930
Box 41 As president of the Motion Picture Producers and Distributors of America, Will Hays emphasized the postive qualities of motion pictures. He saw them as means to promote capitalism and more affluent life styles. They were "international salesmen" for American business, he said. Motion Picture Association of America (MPAA) addresses, Will Hays self-regulation Production Code PCA Production Code Administration (PCA) Breen, Joseph Hays, Will H. MPAA MPPDA motion pictures and popular culture motion pictures addresses Hays, Will H. Hays, Will H., MPPDA, and press MPPDA, and public relations Hays, Will H., and press Hays, Will H., and business motion pictures, and business motion pictures, and international relations international relations, and motion pictures Hays, Will H., and international relations Production Code (motion pictures) Hays, Will H. Film As an International Salesman 13380 Hays, Will H. The Memoirs of Will H. Hays Garden City, NY Doubleday & Company, Inc.
1955
These are the memoirs of Will Hays, who was president of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 until 1945. Hays, who was from Indiana, rose to prominence as chairman of the National Republican Party. He served in President Warren Harding’s cabinet as Postmaster General. Hays did much to bring motion pictures into mainstream respectability in the United States. He was an elder in the Presbyterian church, and his name, of course, became synonymous with movie censorship. But Hays’s conservatism was also tied to capitalism and he saw movies as “international salesmen” for American business. Hays was also an innovator with regard to new media. In addition to ushering movies into respectability, as Postmaster General he promoted air mail, radio, and truck delivery. In Indiana, he had used newsreels to promote the Republican Party during the 1910s. self-regulation Production Code Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories advertising, and public relations propaganda advertising values Production Code (motion pictures) values religion law censorship and ratings censorship memoirs autobiography motion pictures and popular culture motion pictures motion pictures, and Will Hays Hays, Will H. censorship, and Will Hays censorship, and motion pictures motion pictures, and censorship public relations, and Will Hays motion pictures, and public relations Production Code (motion pictures) Hays, Will H., and Production Code (motion pictures) Production Code, and Will Hays public relations public relations, and motion pictures Hays, Will H. The Memoirs of Will H. Hays 13430 Hays, Will H. Rotary Interviews Will H. Hays About the Movies Will H. Hays Papers
April 2, 1934
Public taste was malleable, “to a certain degree, plastic,” Will Hays told the Rotarians in 1934. It could “be molded into new and better forms.” He saw motion pictures as one of the most powerful means of influencing public opinion. Hays was president of the Motion Picture Producers and Distributors of America from 1922 until 1945. motion pictures and popular culture motion pictures Hays, Will H. Hays, Will H., and public relations Hays, Will H., Hays, Will H. Rotary Interviews Will H. Hays About the Movies 20 Hays, Will H. Will H. Hays Papers Indiana State Library, Indianapolis, IN This major collection covers both Hays private life and his work with the Motion Picture Producers and Distributors of America from 1921 until his retirement in 1945. The collection is organized chronologicallyl. Hays, Will H. motion pictures motion pictures, and Will Hays motion pictures, and archives MPPDA censorship and ratings motion pictures, and censorship archives, and motion pictures archives values motion pictures, and values values, and motion pictures Hays, Will H. Will H. Hays Papers 640 Headrick, Daniel R. The Invisible Weapon: Telecommunications and International Politics, 1851-1945 New York Oxford University Press
1991
This very solid book details how the major world powers have tried to exploit telecommunications to their advantage. Starting with the spread of the telegraph in the U.S., Britain, and France, Headrick then moves forward to consider the trans-Atlantic cable, cables to India and Australia, from Russia to Japan. Chapters 1-6 deal with cables. Beginning with chapter 7, Headrick considers “The Beginnings of Radio, 1895-1914.” The focus remains on cables and radio through the end of World War II. The final chapter is on “Telecommunications, Information, and Security.” This fine work provides valuable information in a straightforward manner and complements such other studies as Emily Rosenberg’s Spreading the American Dream. R & D USSR surveillance nationalism imperialism Asia public relations advertising research and development war war non-USA telephones surveillance Spain radio national security general studies nationalism and communication military communication cable telegraph telegraph, global global communication India Australia cable, and India cable, and Australia radio World War II World War I Great Britain France cable, transatlantic cable, transpacific telecommunications Russia Japan cable, and Japan cable, and Russia cable, submarine telegraph, and diplomacy diplomacy, and telegraphy wireless communication radio telegraph, wireless Marconi, Guglielmo Spanish-American War World War I, and cables World War I, and radio cryptography World War I, and cryptology cable, and Latin America radio, and Great Britain radio, and shortwave cable, and technology (1920s) cable, and intelligence propaganda surveillance espionage World War II Soviet Union radio, and Germany radio, and France telephones, and ITT China cipher machines expansion, American national security, and communication naval warfare, and communication cable, Atlantic Germany cultural imperialism radio public relations non-USA advertising and public relations Headrick, Daniel R. The Invisible Weapon: Telecommunications and International Politics, 1851-1945 3100 Headrick, Daniel R. Shortwave Radio and Its Impact on International Telecommunications Between the Wars History and Technology
1994
11 1 21-32 In this article, Headrick examines the influence of shortwave radio on Great Britain and contrasts this impact with what happened in the United States between World War I and World War II. He discusses the origins of shortwave radio, which had an advantage of being "vastly cheaper than any previous long-distance communication system." The author notes that shortwave radio "transformed Britian from the center of global communications into one of many nodes in a decentralized network. Yet Britian's faith in cables was soon justified in World War II when its overseas communications remained largely intact and secure thanks to cables." For the United States, "overseas radio communications expanded slowly in the thirties and rapidly after 1940, often by undercutting the British. Thus shortwave radio hastened the shift of the center of global information from London to New York. As for its strategic security, the United States could still rely on the British cable network. Both the new technology and Britian's reaction to it contributed to America's rise to global power."
This article appears in a special issue of History and Technology devoted to "Informati on Technologies and Socio-Technical Systems." Other authors include Hans Dieter Hellige, Alan Q. Morton, William Aspray, and James S. Small. R & D nationalism imperialism research and development war cultural imperialism war non-USA nationalism and communication military communication radio shortwave radio radio, shortwave nationalism, and shortwave radio military, and shortwave radio cultural imperialism, and shortwave radio capitalism, and shortwave radio Great Britain Great Britain, and shortwave radio cable, submarine World War II World War II, and shortwave radio Great Britain, and cables cable capitalism Headrick, Daniel R. Shortwave Radio and Its Impact on International Telecommunications Between the Wars 2240 Headrick, Daniel R. The Tentacles of Progress: Technology Transfer in the Age of Imperialism, 1850-1940 New York Oxford University Press
1988
technology R & D nationalism technology and society research and development war cultural imperialism war non-USA nationalism and communication military communication World War I technology transfer imperialism cultural imperialism culture Headrick, Daniel R. The Tentacles of Progress: Technology Transfer in the Age of Imperialism, 1850-1940 2250 Headrick, Daniel R. The Tools of Empire: Technology and European Imperialism in the Nineteenth Century New York Oxford University Press
1981
R & D nationalism research and development war cultural imperialism war non-USA imperialism nationalism and communication military communication imperialism, and Europe cultural imperialism, and Europe telegraph telegraph, submarine cultural imperialism culture Headrick, Daniel R. The Tools of Empire: Technology and European Imperialism in the Nineteenth Century 4540 Hearst, Marti A. Interfaces for Searching the Web Scientific American
March 1997
276 3 68-72 The author says that the World Wide Web is growing so rapidly that current attempts to organize and search it have been overwhelmed. New user interfaces may prove to be more successful. computers archives libraries libraries, and information storage Information Age computers and the Internet information storage information processing world wide web Internet Hearst, Marti A. Interfaces for Searching the Web 32550 Hearst, William Randolph Jr.//Bob Considine //Frank Conniff Khrushchev and the Russian Challenge (aka Ask Me Anything -- Our Adventures with Khrushchev) New York Avon Book Division, The Hearst Corporation; McGraw-Hill Book Company, Inc. (1961)
1960, 1961
This work describes the Kitchen Debate in 1959 in Moscow between Vice President Richard Nixon and Soviet primier Nikita Khrushchev. The meeting was recorded by an Ampex color videotape machine and played back immediately on a color television at the exhibit. (167-68). , television videotape color color, and videotape color, and television television, and color videotape, and color magnetic recording, and color Nixon, Richard Nixon, Richard, and Kitchen Debate Nixon, Richard, and color videotape Khrushchev, Nikita Khrushchev, Nikita, and Kitchen Debate Presidents and new media magnetic tape magnetic recording Hearst, William Randolph Jr.//Bob Considine //Frank Conniff Khrushchev and the Russian Challenge (aka Ask Me Anything -- Our Adventures with Khrushchev) 40 Hecht, Jeff Beam: The Race to Make the Laser New York Oxford University Press
2005
This book, supported by a grant from the Sloan Foundation, focuses on the "intense race to build the laser that took three years." The race, won by Ted Maiman, took place during the early 1960s. lasers beam weapons strategic defense initiative (SDI) military communication Bell Laboratories death rays Gould, Gordon, and lasers masers radar lasers, and Ted Maiman SDI Hecht, Jeff Beam: The Race to Make the Laser 41940 Hedges, H. M. A Laocoon for the Movies The Play-book
Jan. 1915
2 8 20-23 Hedges write about language and silent film. "For, to verbal language belongs the poetry of life. The language of picture-drama, the language of signs, must move in narrow grooves." (21) Movies were at the disadvantage in depicting emotion. The "picture-drama, for depicting profound emotions has only the crude tools of smiles and tears, and as soon as it fall back upon them, it become grotesque; and grotesqueness forever forbids the competition of picture-drama with drama proper." (21) While the motion picture was superior to the stage in depicting settings (21), it was inferior to the stage in the ability to depict the inner life of human beings, the psychological underpinnings of drama. Silent films, usually produced in black and white, relied heavily on pantomime which offered a poor substitute for the words spoken and emotions registered by live actors [on stage]. These films seemed incapable of entering “the subjective world of the soul.” Pictures were “the province of melodrama; the legitimate stage is the province of motivated drama, high comedy and tragedy,” said H. M. Hedges. “For drama, great drama, the only thing of importance is human personality in conflict…. How can the struggle of a soul be adequately portrayed by pantomime?” (22) theater stage motion pictures, and modernity critics censorship words vs. images metaphors actors acting motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and printing press motion pictures, as new literary form theater and stage motion pictures, and stage stage, and motion pictures images vs. words motion pictures, and new art form motion pictures, and novels censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and new way of seeing motion pictures, and drama motion pictures, and nature motion pictures, and character motion pictures, and words motion pictures, and motion pictures, and subjective world of soul motion pictures, and psychology Hedges, H. M. A Laocoon for the Movies 1010 Hedges, Marion H. Why a Labor Press? J. G. S. Hardman and Maurice F. Neufeld, eds. The House of Labor: Internal Operations of American Unions Englewood Cliffs, NJ; Westport, CT Prentice Hall; Greenwood Press
1951, 1970
See also: office At the dawn of the television age, Hedges, a longtime labor activist and former research director for the International Brotherhood of Electrical Workers, argued that there was still hope for the century-old labor press. Hedges asserted that labor publications remained necessary to the labor movement to overcome the influence of the daily mainstream press. “Labor unions should seek new editorial talent, raise up great editors, give recognition to the services that they perform for the movement and the community.” He noted that readership of the 650 weekly and 250 monthly labor publications in 1950 was estimated at about 20 million. He argued “labor editors should recognize that there is an increasingly broad readership potential outside the unions. Such circulation should be encouraged as a means of extending the understanding of labor’s problems and points of view.”
--Phil Glende journalism news and journalism Glende, Phil labor newspapers labor, and newspapers newspapers, and labor news, and labor labor, and news news Hedges, Marion H. Why a Labor Press? 3470 Hedlund, Kristen Valenti Opposes Plan for Drug Use Rating for Films Los Angeles Times
Oct. 25, 1985
8 Jack Valenti opposes a new rating subcategory that would warn parents that a movie depicted drug use. The article indicates that the movie industry Classification and Rating Administration "will doubtless approve" new guidelines that guarantee that films showing drug use will be rated no less than PG-13. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA U. S.Congress self-regulation Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) censorship and ratings rating system (U.S.) rating system (U. S.) values NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures Congress, U. S. law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture motion pictures, and drug use classification, and drug use Valenti, Jack, and rating system (U. S.) Valenti, Jack CARA, and drug abuse CARA, and substance abuse Valenti, Jack, and drug use Valenti, Jack, and opposes SA rating MPAA, and drug abuse rating system (U. S.), and drug abuse Congress, U. S., and Hollywood Congress, U. S., and drug abuse values government Hedlund, Kristen Valenti Opposes Plan for Drug Use Rating for Films 21040 Heffner, Richard Testimony, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" Committee on Governmental Affairs, United States Senate, Ninety-Ninth Congress, First Session Permanent Subcommittee on Investigations
(Oct. 24, 1985)
117-22 Heffner, who was then head of the movie industry's Classification and Rating Administration (CARA), testified about how CARA rated movies that depicted substance abuse. Heffner did not believe that the subject matter of a film shoud guarantee a rating per se, but he favored giving the public more information explaining why ratings were given -- although on this latter point, he had to be careful because Jack Valenti resisted giving more information on the ratings. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation government hearings Classification and Rating Administration (CARA) theaters National Association of Theatre Owners (NATO) Valenti, Jack theaters theater owners censorship and ratings rating system (U.S.) archives government substance abuse drug abuse law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA Heffner, Richard motion pictures and popular culture motion pictures classification, and motion pictures motion pictures, and classification classification, and independent producers CARA, and Jack Valenti rating system (U. S.) motion pictures, and Congress hearings Valenti, Jack, and Congress Heffner, Richard, and Congress rating system (U. S.), and drug abuse drug abuse, and rating system (U. S.) drug abuse, and classification NATO rating system (U. S.), and NATO hearings, and Richard Heffner hearings, and Richard Heffner hearings, and drug abuse CARA, and appeals process television television, and rating system (U. S.) television, and drug use Heffner, Richard Testimony, Hearings, "Role of the Feature Film Industry in a National Effort to Diminish Drug Use Among Young People" 29290 Heffner, Richard D. ALA Conference: Caution: This Program Is Rated X Newsletter on Intellectual Freedom
Sept. 1985
34 176-78 Richard D. Heffner participated in an American Library Association Round Table on Intellectual Freedom in 1985, and there talked about how the “rights of the creative individual” needed to be respected but also balanced against the “rights of the majority ... of parents whose primary concern is for the well-being of their own children.” He still believed that if limits needed to be placed on communication, the responsibility for imposing restraints should rest with the receiver who could choose not to listen, read, or view. Restrictions should not be imposed “upon the freedom of the sender.” Classification and Rating Administration CARA Classification and Rating Administration (CARA) Heffner, Richard Heffner, Richard, and censorship censorship and ratings CARA values Heffner, Richard, and CARA American Library Association censorship Heffner, Richard D. ALA Conference: Caution: This Program Is Rated X 19080 Heffner, Richard D. Alexis de Tocqueville, Democracy in America: Specially Edited and Abridged for the Modern Reader New York Penguin Books
1956
Richard Heffner, who chaired the movie industry's Classification and Rating Administration from 1974 until 1994, described himself as a Jeffersonian liberal and began his work at CARA strongly opposed to any kind of censorship. He feared what Tocqueville called the "tyranny of the majority" and this edition of Tocqueville's work offers insight into Heffner's approach to freedom of expression. Tocqueville, Alexis de motion pictures and popular culture motion pictures Heffner, Richard, and Am. history Heffner, Richard Heffner, Richard, and Alexis de Tocqueville Heffner, Richard, and tyranny of majority Tocqueville, Alexis de, and Richard Heffner Heffner, Richard D. Alexis de Tocqueville, Democracy in America: Specially Edited and Abridged for the Modern Reader 28800 Heffner, Richard D. A Conversational History of Modern America (edited by Marc Jaffe) New York Carroll & Graf Publishers
2003
This book reprints many of the interviews Heffner conducted over the years on his public television program "The Open Mind." The interviews are broken down in to several categories: Power and Politics, The Law, The Media, Race, Women's Issues, Medicine, Popular Culture and the American Scene. The interviewees include Martin Luther King, Jr., Malcolm X, Oliver Stone, Arthur Schlesinger, Jr., Dan Rather, Bill Moyers, Mario Cuomo, Donald Rumsfeld, Rudolph Giuliani, and others. Classification and Rating Administration CARA Classification and Rating Administration (CARA) motion pictures and popular culture motion pictures motion pictures, and Richard Heffner CARA CARA, and Richard Heffner Heffner, Richard, and CARA censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and background Heffner, Richard television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and The Open Mind Heffner, Richard, and politics censorship and ratings censorship Heffner, Richard D. A Conversational History of Modern America (edited by Marc Jaffe) 19880 Heffner, Richard D. Design for Learning Saturday Review
Feb. 14, 1959
42 17-19, 47-53 Richard D. Heffner began his television program "The Open Mind" in 1956 and at that time had high hopes for television as an instrument of education and democracy. But he recognized the medium’s limitations and apprehensive about the direction of commercial television. During the late 1950s when many urged greater use of TV in the classroom, Heffner doubted that a “soul-satisfying atmosphere” could be created and warned that television’s widespread use could change American educational values for the worse. values religion motion pictures education community democracy motion pictures and popular culture motion pictures television Heffner, Richard television, and education Heffner, Richard, and television Heffner, Richard, and TV and education television, and values values, and television Heffner, Richard, and values democracy, and Richard Heffner Heffner, Richard, and democracy education, and television values critics democracy, and television Heffner, Richard D. Design for Learning 19070 Heffner, Richard D. A Documentary History of the United States: An Expanded Edition New York New American Library
1965
1952 Richard D. Heffner, who studied to become an American historian, chaired the movie industry's Classification and Rating Administration from 1974 until 1994. He considered himself to be a Jeffersonian liberal and this collection of documents reveals his admiration for not only Jefferson but Franklin D. Roosevelt, John F. Kennedy, and other liberal American presidents. motion pictures and popular culture motion pictures Heffner, Richard, and Am. history Heffner, Richard Heffner, Richard D. A Documentary History of the United States: An Expanded Edition 19940 Heffner, Richard D. Freedom and Responsibility in Mass Communications [Address delivered in London, England] Papers of Richard D. Heffner
March 22, 1982
Heffner was concerned about the impact of such new media as cable television and video cassettes which brought restricted or even X-rated entertainment directly into homes, thus bypassing the box office and making the movie industry's rating system much less effective. He worried that unlike movie maker exhibited restraint that they might create a climate in which the majority would impose censorship on the rest of society. This material appeared earlier in Richard D. Heffner, "'Narrowcasting' and the Treat to Morals," New York Times, Aug. 17, 1980. A draft of this piece is in Richard D. Heffner's Private Collection, New York, NY. entertainment Classification and Rating Administration classification self-regulation entertainment, home Classification and Rating Administration (CARA) television censorship and ratings rating system (U. S.) archives new media home entertainment freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA home, and new media home archives addresses, Richard Heffner motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and cable TV Heffner, Richard, and home entertainment Heffner, Richard, and VCRs Heffner, Richard, and satellite TV new media, and home classification, and new technology CARA, and new technology rating system (U. S.), and new technology home entertainment revolution home entertainment revolution, and Richard Heffner censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner Heffner, Richard, and Tocqueville Heffner, Richard, and John Milton Heffner, Richard, and Thomas Jefferson narrowcasting television, and narrowcasting First Amendment First Amendment, and Richard Heffner Heffner, Richard, and First Amendment critics Heffner, Richard addresses Heffner, Richard D. Freedom and Responsibility in Mass Communications [Address delivered in London, England] 20850 Heffner, Richard D. Guidance to Parents, Not Profits, Governs Movie Rating System Los Angeles Times
July 2, 1990
Heffner, who chaired the movie industry's Classification and Rating Administration from 1974 unti 1994, here defends the system and says that the sole purpose of the ratings is to give parents a clear idea of the nature of films so that they could then determine if the movies were appropriate for their children. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) Valenti, Jack censorship and ratings rating system (U.S.) rating system (U. S.) religion values morality freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner morality, and motion pictures motion pictures, and morality CARA, and William Kunstler Valenti, Jack, and rating system (U. S.) system X-rated films CARA, and X-rating Heffner, Richard, and X-rating Cruising, and rating system (U. S.) CARA, and Cruising critics Heffner, Richard CARA Cruising Heffner, Richard D. Guidance to Parents, Not Profits, Governs Movie Rating System 20880 Heffner, Richard D. Here Come the Video Censors [Editorial] New York Times
May 1, 1994
4 17 Heffner, who chaired the movie industry's Classification and Rating Administration from 1974 until 1994, doubted that the ratings would work for home entertainment. The rating system depended on the box office to help keep underage children from restricted entertainment. “I don’t think ratings, given the fact that it’s not theatrical exhibition movies anymore, but it is television movies and cable movies and home video games – all of this stuff pouring into our homes – I don’t think the concept of ratings, which was so appropriate for theatrical exhibition movies, is going to work,” he said. A clilppling of this piece is in Richard D. Heffner's Personal Papers, Private Collection, New York, N.Y. entertainment Classification and Rating Administration classification video cassette recorders (VCRs) self-regulation entertainment, home Classification and Rating Administration (CARA) magnetic recording television, and V-chip violence censorship and ratings rating system (U.S.) rating system (U. S.) religion values morality home entertainment magnetic tape freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship home motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner morality, and motion pictures motion pictures, and morality television television, and rating system (U. S.) rating system (U. S.), and television Heffner, Richard, and TV rating system (U. S.) V-chip Heffner, Richard, and V-chip home entertainment revolution Heffner, Richard, and home entertainment revolution Heffner, Richard, and editorial VCRs Heffner, Richard, and VCRs critics home, and new media Heffner, Richard CARA Heffner, Richard D. Here Come the Video Censors [Editorial] 19950 Heffner, Richard D. Jefferson Revisited [Address delivered in Toronto] Papers of Richard D. Heffner
Sept. 18, 1984
Heffner chaired the movie industry's Classification and Rating Administration from 1974 until 1994. He found John Milton, John Stuart Mill, and Tocqueville to be influential in his thinking about freedom of expression and censorship. He sometimes quoted Milton who had asked in Areopagitica, “Who ever knew truth put to the worse, in a free and open encounter?” Rarely, though, did the contest for truth occur in a fair arena, Heffner believed. entertainment Classification and Rating Administration classification self-regulation entertainment, home Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) archives new media media effects media violence home entertainment freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA home, and new media home archives addresses, Richard Heffner motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and cable TV Heffner, Richard, and home entertainment Heffner, Richard, and VCRs Heffner, Richard, and satellite TV new media, and home classification, and new technology CARA, and new technology rating system (U. S.), and new technology home entertainment revolution home entertainment revolution, and Richard Heffner censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner Heffner, Richard, and Thomas Jefferson Heffner, Richard, and violence violence, and home entertainment violence First Amendment First Amendment, and Richard Heffner Heffner, Richard, and First Amendment critics Heffner, Richard addresses Heffner, Richard D. Jefferson Revisited [Address delivered in Toronto] 20890 Heffner, Richard D. Last Gasp of the Gutenbergs [Editorial] Los Angeles Times
Feb. 19, 1992
B11 Heffner, who chaired the Classification and Rating Administration from 1974 to 1994, here discusses the power of cinema to influence the way we see the news and interpret history. He speculated that such visual media which so easily blended fact and fiction ("faction," he called it) might well define the national agenda in years to come. He was writing during the controversial over the interpretation of the assassination of President John F. Kennedy in Oliver Stone's movie JFK (1991). history Classification and Rating Administration classification video cassette recorders (VCRs) self-regulation Classification and Rating Administration (CARA) magnetic recording censorship and ratings preservation religion values morality history, and new media magnetic tape freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner morality, and motion pictures motion pictures, and morality Heffner, Richard, and editorial VCRs Heffner, Richard, and Oliver Stone Heffner, Richard, and movie history history, and motion pictures motion pictures, and history motion pictures, and Oliver Stone, critics history Heffner, Richard CARA Heffner, Richard D. Last Gasp of the Gutenbergs [Editorial] 20150 Heffner, Richard D. 'Narrowcasting' and the Threat to Morals New York Times
Aug. 17, 1980
2 (Arts and Leisure) 29 Heffner was concerned about the impact of such new media as cable television and video cassettes which brought restricted or even X-rated entertainment directly into homes, thus bypassing the box office and making the movie industry's rating system much less effective. He worried that unlike movie maker exhibited restraint that they might create a climate in which the majority would impose censorship on the rest of society. Heffner did not like the New York Times' title for this piece. He preferred "'Narrowcasting' and the Threat to Freedom." The material in this article later appeared in Heffner's address in London, March 22, 1982, entitled "Freedom and Responsibility in Mass Communication," copy in Papers of Richard D. Heffner, Private Collection, New York, N.Y. entertainment Classification and Rating Administration classification self-regulation entertainment, home Classification and Rating Administration (CARA) television censorship and ratings rating system (U.S.) rating system (U. S.) new media religion values morality home entertainment freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA home, and new media home archives addresses, Richard Heffner motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and cable TV Heffner, Richard, and home entertainment Heffner, Richard, and VCRs Heffner, Richard, and satellite TV new media, and home classification, and new technology CARA, and new technology rating system (U. S.), and new technology home entertainment revolution home entertainment revolution, and Richard Heffner censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner Heffner, Richard, and Tocqueville Heffner, Richard, and John Milton Heffner, Richard, and Thomas Jefferson narrowcasting television, and narrowcasting morality, and motion pictures motion pictures, and morality Heffner, Richard, and editorial First Amendment First Amendment, and Richard Heffner Heffner, Richard, and First Amendment critics Heffner, Richard addresses Heffner, Richard D. 'Narrowcasting' and the Threat to Morals 26640 Heffner, Richard D. Open Mind, Interviews Heffner, who chaired the movie industry's Classification and Rating Administration, also hosted a television program, "The Open Mind." It started in 1956 and ran off-and-on into the twenty-first century. The program interviewed intellectuals and political leaders on the leading issues of the day. Many of these interview -- although not most -- are in the Museum of Television and Radio in New York, N.Y. Most of the interviews there are from the 1980s and 1990s. Among the interviews that are available include Neil Postman and Oliver Stone. Some of the interviews (including those with Postman and Stone) can be seen at the Museum of Television and Radio, New York, N.Y. motion pictures censorship and ratings children Heffner, Richard television motion pictures and popular culture Heffner, Richard, and television Postman, Neil Wertham, Fredric Heffner, Richard, and Charles Siepmann children and media Heffner, Richard, and children Heffner, Richard, and politics Heffner, Richard, and Theodore Shapiro Heffner, Richard, and Peter Neubauer Heffner, Richard D. Open Mind, Interviews 28260 Heffner, Richard D. Papers of Richard D. Heffner Papers of Richard D. Heffner This important collection provides the first behind-the-scenes look at how the motion picture ratings system operated while Jack Valenti was president of the Motion Picture Association of America. Heffner headed the Classification and Rating Administration from 1974 until 1994. These papers are in the Columbia Oral History Collection, Butler Library, Columbia University, New York, N. Y. entertainment Classification and Rating Administration classification self-regulation entertainment, home Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) archives new media home entertainment freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA home, and new media home archives addresses, Richard Heffner motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and cable TV Heffner, Richard, and home entertainment Heffner, Richard, and VCRs Heffner, Richard, and satellite TV new media, and home classification, and new technology CARA, and new technology rating system (U. S.), and new technology home entertainment revolution home entertainment revolution, and Richard Heffner censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner Heffner, Richard addresses Heffner, Richard D. Papers of Richard D. Heffner 28610 Heffner, Richard D. Reminiscences of Richard D. Heffner [Oral History] 20 volumes This important oral history provides the first behind-the-scenes look at how the motion picture ratings system operated while Jack Valenti was president of the Motion Picture Association of America. Heffner headed the Classification and Rating Administration from 1974 until 1994. The 20 volumes in this oral history are in the Columbia Oral History Collection, Butler Library, Columbia University, New York, N.Y. Motion Picture Association of America (MPAA) entertainment Classification and Rating Administration classification MPAA self-regulation entertainment, home Classification and Rating Administration (CARA) Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories National Association of Theatre Owners (NATO) censorship and ratings rating system (U.S.) archives new media NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric home entertainment home freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification archives addresses, Richard Heffner motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and cable TV Heffner, Richard, and home entertainment Heffner, Richard, and VCRs Heffner, Richard, and satellite TV new media, and home classification, and new technology CARA, and new technology rating system (U. S.), and new technology home entertainment revolution home entertainment revolution, and Richard Heffner censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner oral histories archives archives, and Richard Heffner oral histories oral histories, and Richard Heffner motion pictures motion pictures and popular culture censorship censorship, and motion pictures Valenti, Jack MPAA MPAA, and censorship CARA CARA, and censorship CARA, and Richard Heffner CARA, and Aaron Stern Stern, Aaron Mosk, Richard CARA, and Richard Mosk CARA, and Jack Valenti Wasserman, Lew CARA, and Lew Wasserman rating system (U. S.) CARA, and rating system (U. S.) motion pictures, and rating system (U. S.) motion pictures, and classification classification, and CARA Heffner, Richard Heffner, Richard, and drug abuse Heffner, Richard, and sex Heffner, Richard, and violence Heffner, Richard, and language Heffner, Richard, and Jack Valenti oral histories home, and new media addresses Heffner, Richard D. Reminiscences of Richard D. Heffner [Oral History] 19830 Heffner, Richard D. Testimony Hearings, "Movie Ratings and the Independent Producer," Committee on Small Business, United States House of Representatives, Nineth Fifth Congress, First Session Subcommittee on Special Small Business Problems (July 21, 1977) 195-210 Washington, D. C.: U. S. Government Printing Office, 1977 Here Richard D. Heffner, then head of the movie industry's Classification and Rating Administration, testifies that films made by independent producers are not rated more harshly than motion pictures made by large studios that were members of the Motion Picture Association of America. A copy of this testimony can be found in the Richard D. Heffner's Personal Papers, Private Collection, New York, NY. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation government hearings Classification and Rating Administration (CARA) censorship and ratings government law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship CARA motion pictures and popular culture motion pictures motion pictures, and Richard Heffner CARA CARA, and Richard Heffner Valenti, Jack Heffner, Richard, and CARA censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and background Heffner, Richard, and Jack Valenti Heffner, Richard Heffner, Richard, and hearings hearings hearings, and Richard Heffner CARA, and independent producers Heffner, Richard, and independent producers Heffner, Richard, and Congress CARA, and independent producers Heffner, Richard D. Testimony 20180 Heffner, Richard D. TV as Teacher: Of Adults, Too New York Times Magazine
Aug. 17, 1958
19, 74 Richard Heffner, who chaired the movie industry's Classification and Rating Administration from 1974 until 1994, also had an even longer career in television dating back to 1956 when he started his program "The Open Mind." At the outset he was optimistic about television as an instrument aided education and democracy, but as TV became commercialized he became pessimistic. values education community democracy motion pictures and popular culture motion pictures motion pictures, and Richard Heffner Heffner, Richard, and background Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Heffner, Richard, and educational TV education, and television television, and education democracy, and television values critics Heffner, Richard D. TV as Teacher: Of Adults, Too 20800 Heffner, Richard D. TV Cameras Don't Belong in the Courts Wall Street Journal
March 24, 1989
1 10 An Op-Ed article by Heffner, who was chairman of citizens committee appointed to advise New York State judiciary on current experiments in using TV cameras in courts. Heffner opposed the presence of cameras in courts. motion pictures and popular culture motion pictures motion pictures, and Richard Heffner Heffner, Richard, and background Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and educational TV Heffner, Richard, and editorial Heffner, Richard, and TV in courts Heffner, Richard, and Open Mind critics Heffner, Richard D. TV Cameras Don't Belong in the Courts 19980 Heffner, Richard D. What G, PG, R and X Really Mean TV Guide
Oct. 4-10, 1980
38-40, 42, 44, 46 Heffner, who chaired the movie industry's Classification and Rating Administration, here explains what the rating symbols mean. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures motion pictures, and CARA motion pictures, and Richard Heffner CARA, and Richard Heffner Heffner, Richard Heffner, Richard, and rating system classification, and Richard Heffner television television, and rating system (U. S.) Heffner, Richard, and classification Heffner, Richard, and television Heffner, Richard, and CARA CARA Heffner, Richard D. What G, PG, R and X Really Mean 20860 Heffner, Richard D. Charles Champlin The Case of the Missing Rating [Editorial] Los Angeles Times
Dec. 16, 1996
Heffner, who chaired the movie industry's Classification and Rating Administration from 1974 and 1994, and Champlin, a film critic for the Los Angeles Times, discuss the motion picture rating system in the context of efforts to create a similar system for television as well as efforts to get people to use the V-chip to screen out unwanted entertainment. entertainment Classification and Rating Administration classification video cassette recorders (VCRs) self-regulation entertainment, home Classification and Rating Administration (CARA) magnetic recording television, and V-chip violence censorship and ratings rating system (U.S.) rating system (U. S.) religion values morality home entertainment magnetic tape freedom law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship home motion pictures and popular culture motion pictures motion pictures, and Richard Heffner classification, and Richard Heffner Heffner, Richard, and classification CARA, and Richard Heffner Heffner, Richard, and CARA Heffner, Richard, and critics Heffner, Richard, and censorship rating system (U. S.), and NC-17 censorship, and Richard Heffner Heffner, Richard, and censorship Heffner, Richard, and freedom freedom, and Richard Heffner morality, and motion pictures motion pictures, and morality television television, and rating system (U. S.) rating system (U. S.), and television Heffner, Richard, and TV rating system (U. S.) V-chip Heffner, Richard, and V-chip home entertainment revolution Heffner, Richard, and home entertainment revolution Heffner, Richard, and editorial VCRs Heffner, Richard, and VCRs home, and new media Heffner, Richard Champlin, Charles CARA Charles Champlin The Case of the Missing Rating [Editorial] 20900 Heffner, Richard D. Charles Champlin A Television Rating System Won't Hurt Anyone [Editorial] New York Times
Dec. 19, 1996
A 28 Heffner, who chaired the movie industry's Classification and Rating Administration from 1974 and 1994, and Champlin, a film critic for the Los Angeles Times, discuss the motion picture rating system in the context of efforts to create a similar system for television. Classification and Rating Administration classification self-regulation Classification and Rating Administration (CARA) censorship and ratings law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures motion pictures, and CARA motion pictures, and Richard Heffner CARA, and Richard Heffner Heffner, Richard Heffner, Richard, and rating system classification, and Richard Heffner television television, and rating system (U. S.) Heffner, Richard, and classification Heffner, Richard, and television Heffner, Richard, and CARA Heffner, Richard, and editorial Heffner, Richard, and TV rating system (U. S.) Heffner, Richard CARA Charles Champlin A Television Rating System Won't Hurt Anyone [Editorial] 26790 [Heffner, Richard D. Richard Heffner Associates Network Television's Business-Related Content
Spring, 1974
This study, funded by the Ford Foundation, examined how television programs and advertising during the early 1970s portrayed business content. A copy of this study is in Richard D. Heffner Personal Papers, Private Collection, New York, NY; and at the University of California, Los Angeles. magnetic recording advertising, and public relations television, and values propaganda public relations values media effects magnetic tape television television, and media effects media effects, and television Heffner, Richard, and television Ford Foundation, and television television, and business content advertising, and television advertising, and TV business content videotape media effects, and videotape television, and videotape videotape, and television values values, and television Heffner, Richard advertising [Heffner, Richard D. Richard Heffner Associates Network Television's Business-Related Content 26780 [Heffner, Richard D. Richard Heffner Associates [Report and Proposal: Concerning the Identification of Entertainment Television's Aging-Related Content]
Dec. 1973
This study examined how entertainment programs on television depicted age-related issues during the early 1970s. A copy of this material is in Richard D. Heffner Personal Papers, New York, NY, and at the University of California, Los Angeles. magnetic recording media effects magnetic tape television television, and media effects media effects, and television Heffner, Richard, and television Ford Foundation, and television television, and aging content Heffner, Richard, and Edna McConnell Clark Foundation television, and Edna McConnell Clark Foundation videotape media effects, and videotape videotape, and media effects television, and videotape videotape, and television Heffner, Richard violence sexuality [Heffner, Richard D. Richard Heffner Associates [Report and Proposal: Concerning the Identification of Entertainment Television's Aging-Related Content] 26770 [Heffner, Richard Richard Heffner Associates Network Television's Environmental Content
June 30, 1972
This study exmained how network television programs depicted environmental issues during the early 1970s. A copy of this material is in Richard D. Heffner Personal Papers, Private Collection, New York, NY, and at the University of California, Los Angeles. magnetic recording media effects magnetic tape television television, and media effects media effects, and television Heffner, Richard, and television Ford Foundation, and television television, and environmental content videotape media effects, and videotape videotape, and media effects television, and videotape videotape, and television Heffner, Richard [Heffner, Richard Richard Heffner Associates Network Television's Environmental Content 28410 Hefner, Hugh M. Who Says Pornography Harms Society?; There Are Indications It Has No Effect at All Chicago Sun-Times
March 13, 1993
18 See also: violence See also: sexuality Hugh Hefner, who founded Playboy, argues that pornography has no harmful effects on society. He notes that during the late 1960s, the University of Chicago had conducted a "Playboy Foundation-funded society of 7,000 psychologists, psychiatrists and similar social scientists across the country to learn whether, in their opinion, hard-core pornography caused anti-social behavior. The overwhelming majority (93 percent) replied that they did not believe that any such casual connection existed." Hefner claimed, "that essential insight -- that explicit sexual images do not cause harm -- has been supported by every objective study in the intervening years." Hefner quotes from Meese Commission member Park Dietz as saying that "I believe that Playboy centerfolds are among the healthiest images in America," and President Reagan's Surgeon General, C. Everett Koop, as saying that there was "no evidence that exposure to sexual material leads to sex crimes." photography social science research sexuality sexuality news and journalism books, periodicals, newspapers pornography magazines photography and visual communication photography, and pornography pornography, and photography pornography, and magazines Playboy media effects pornography, and defenders media effects, and pornography social science research, and pornography Koop, C. Everett, and pornography Dietz, Park, and pornography Koop, C. Everett Hefner, Hugh M. Who Says Pornography Harms Society?; There Are Indications It Has No Effect at All 33610 Heide, Lars Monitoring People: Dynamics and Hazards of Record Management in France, 1935-1944 Technology and Culture
Jan. 2004
45 1 80-101 Abstract from Technology and Culture: "Monitoring people by use of punched cards was a tool for governments to exploit the potentials of modern mass society, which they started to develop in the 1930s. In France, René Carmille promoted this possibility. He worked to mechanise the army's conscript and mobilisation administration, which was only implemented by the autocratic French regime after the country had been conquered by Germany in 1940. For this end a national register of people was established by use of punched cards. However, this register also improved the possibilities to control and locate individuals, for example Jews, which Carmille only gradually realised. This predicament added to Carmille's dilemma between his loyalty to the French government and his detestation of the German Nazis. After the German occupation of the last part of France in late 1942, he rebelled against the French collaborative regime, was arrested by the Germans and died in a concentration camp." computers nationalism computers and the Internet France Germany information storage computers, and surveillance military communication nationalism and communication war World War II World War II, and France computers, and databases computers, and punch cards punch cards non-USA computers Heide, Lars Monitoring People: Dynamics and Hazards of Record Management in France, 1935-1944 35070 Heidenry, John Their Was the Kingdom: Lila and DeWitt Wallace and the Story of the Reader's Digest New York W. W. Norton & Company
1993
This 622-page work covers the history of the influential Reader's Digest. Heidenry notes that William L. White, who was the son of the journalist William Allen White, traveled to the Soviet Union with Eric Johnston, who at the time was president of the U. S. Chamber of Commerce. White wrote a two-part "Report on the Russians," the latter half of which was published in 1945. nationalism magazines nationalism and communication democracy capitalism Johnston, Eric Reader's Digest Johnston, Eric Heidenry, John Their Was the Kingdom: Lila and DeWitt Wallace and the Story of the Reader's Digest 12160 Heidenry, John What Wild Ecstasy: The Rise and Fall of the Sexual Revolution New York Simon & Schuster
1997
This work attempts to provide a general historical overview of human sexuality, primarily in the United States, from the 1960s through the late 1990s. The theme is the “Sexual Revolution,” and the United States was “its epicenter.” The even larger message of this book, the author writes, “is that the Sexual Revolution, far from being a pop-cultural epoch book ended between the mid-sixties and the late seventies, is in fact part of a permanent continuum of revolutionary events that has scarcely begun.” Heidenry’s point of view is plainly stated. His book is “a call to arms against the ancien régime of an oppressive church-state morality fueled by a dishonest, even barbarous sexual tyranny that men continue to impose on women in every culture, in every generation. Something resembling peace on earth can be achieved only when all women, in every country of the world, are sexually free at last.”
The author does offer some discussion of new communication technologies that aided the Sexual Revolution. For example, he discusses (briefly) photolithographic color-printing techniques during the 1960s that improved picture quality in pornographic magazines. He mentions also Super 8 mm porn movies, the growth of video arcades and peep shows, the growth in video recording in the mid- and late-1970s and the impact it had on 35mm and 8 mm films, and how videocassettes and local video stores helped erode pornography’s power base. Rather than endnotes which give the precise location of quotations and other information, the book has a “Sources and Acknowledgments” section which lists books and articles used for each chapter. technology video cassette recorders (VCRs) homosexuality media effects magnetic recording photography women, and new media video rentals video cassettes sexuality sexuality sexuality values media effects media violence violence news and journalism books, periodicals, newspapers sexuality videotape magnetic tape cinema motion pictures celluloid film women feminism media effects law censorship and ratings news and journalism 8mm films 8mm 35mm motion pictures and popular culture censorship obscenity pornography technology and society motion pictures VCRs video cassettes magazines, and photolithographic color-printing color color, and photography color, and photolithographic color-printing photography and visual communication photography, and color photography, and pornography photography, and photolithographic color-printing censorship, and pornography women women, and pornography values values, and pornography 8mm film 35mm film film, 8mm film, 35mm homosexuality, and pornography pornography, and homosexuality feminism, and pornography pornography, and children gender Guccione, Bob Flynt, Larry Playboy Penthouse magazines Hefner, Hugh Kinsey, Alfred C. Masters, William H. motion pictures, and pornography motion pictures, and art films violence and media motion pictures, and violence communication effects peep shows video arcades video stores Meese Commission anti-pornography, Kinsey Institute anti-pornography crusade video media effects Heidenry, John What Wild Ecstasy: The Rise and Fall of the Sexual Revolution 4680 Heilbroner, Robert L. Do Machines Make History? Merritt Roe Smith and Leo Marx, eds. Does Technology Drive History? The Dilemma of Technological Determinism Cambridge, MA MIT Press
1994
53-65 This piece first appeared in Technology and Culture, 8 (July 1967), 335-45. Of the writers in this anthology, Heilbroner perhaps is closest to be a technological determinist, although in this essay he embraces technological determinism only with qualification that are carefully worded. Here the author tries to explain "the extent to which technology determines 'the nature of the socioeconomic order.'" He sees "technology as a strong 'mediating factor' rather than as the determining influence on history...." He expands on this point an a follow-up essay entitled "Technological Determinism Revisited" that follows in this anthology (pp. 67-78). technology values preservation history, and new media history technology and society technological determinism progress history, and technological determinism Heilbroner, Robert L. Do Machines Make History? 3460 Heins, Marjoire director and Christina Cho writer Internet Filters: A Public Policy Report New York, NY Free Expression Policy Project, National Coaltion Against Censorship
2001
This 68-page report was published by the National Coalition Against Censorship. It is designed for teachers, parents, policymakers, librarians, and others interested in the Internet, censorship, intellectual freedom, and education. The work is organized by individual filters and those Internet filters discussed include: America Online Parent Controls, Bess, ClickSafe, Cyber Patrol, Cyber Sentinel, CYBERsitter, Family Click, I-Gear, Internet Guard Dog, Net Nanny, Net Shepherd, Norton Internet Security, Safe Server, Safe Surf, Smart Filter, SurfWatch, We-Blocker, WebSENSE, and X-Stop. This report notes shortcomings in most, if not all, of these filters. The work contains a "Bibliography of Tests and Studies," which includes websites. Appendix A is "Blocked Sites by Subject: Artistic and Literary; Sexuality Education; Gay and Lesbian Information, Political Topics/Human Rights; Censorship." entertainment computers classification self-regulation homosexuality entertainment, home CARA censorship and ratings rating system (U.S.) rating system (U. S.) libraries lesbianism archives home entertainment gays education computers law censorship and rating system (U. S.) rating system (U. S.) censorship classification censorship home, and new media home computers and the Internet censorship, and filters censorship, Internet filters computers, and filters filters, and Internet rating system (U. S.), and Internet filters critics ACLU ACLU, and Internet filters information storage information storage, and Internet filters libraries, and Internet filters computers, and education education, and computers education, and Internet filters home, and Internet filters bibliographies bibliographies, and Intenet filters gays, and Internet filters lesbians, and Internet filters Heins, Marjoire director and Christina Cho writer Internet Filters: A Public Policy Report 3290 Heins, Marjorie Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth New York Hill and Wang
2001
Heins is a ardent opponent of censorship and supporter of the American Civil Liberties Union. In this book she surveys a wide range of efforts that have been made to suppress or regulation communications related to indecency. She writes that the "argument here is not that commercial pornography, mindless media violence, or other dubious forms of entertainment are good for youngsters or should be foisted upon them. Rather, it is that, given the overwhelming difficulty in even defining what it is we want to censor, and the significant costs of censorship to society and to youngsters themselves, we ought to be sure that real, not just symbolic, harm results from youthful pursuit of disapproved pleasures and messages before mandating indecency laws, Internet filters, and other restrictive regimes. Perhaps there are better ways to socialize children -- among them training in media literacy and critical thinking skills, comprehensive sexaulity education, literature classes that deal with difficult topics rather than pretending they do not exist, and inclusion of young people into journalism and policymaking on this very issue of culture and values. In all of these areas, youngsters who are economically and educationally deprived are likely to benefit most from additional sources of information and ideas." (11-12)
This work has ten chapters. One is devoted to filtering technologies such as the v-chip. Heins' last chapter deals with "Media Effects." In this chapter, she offers a critique of social science research showing that violence in mass media has harmful effects on children. "Part of the problem has been that the issue of media effects is too often posed in 'either/or' terms. Statistical correlations between exposure to films classified as violent by experimenters in a laboratory setting and subsequent behavior deemed aggressive by the experimenters are said to prove that all or a great percentage of children imitate what they see in the media." She debunks social science research that argues that catharsis theory -- "the therapeutic or 'drive reduction' effect of entertainment" -- has been discredited. (228)
 computers classification children video cassette recorders (VCRs) self-regulation Federal Communications Commission (FCC) CARA magnetic recording Aristotle television, and V-chip social science research censorship and ratings values sexuality motion pictures media effects media violence violence Internet magnetic tape First Amendment regulation education comic books freedom censorship and rating system (U.S.) law censorship and rating system (U. S.) rating system (U. S.) censorship classification media effects media effects, and critics social science research, and critics motion pictures and popular culture censorship, and motion pictures motion pictures, and censorship censorship rating system (U. S.), and motion pictures motion pictures, and rating system (U. S.) ACLU children children, and media effects media effects, and children children, and violence violence, and children media effects, and catharsis theory catharsis theory, and media effects Aristotle, and media effects media effects, and Aristotle critics television television, and media effects television, and violence violence, and television media effects, and television censorship, and television censorship, and cable television law, and censorship law, and indecency censorship, and indecency FCC First Amendment, and media censorship, and Hicklin test books, periodicals, newspapers censorship, and books books, and censorship censorship, and music lyrics radio radio, and censorship censorship, and radio pornography pornography, and censorship censorship, and pornography Miller v. California censorship, and Miller case education, and censorship censorship, and education Reno v. ACLU comic books, and censorship censorship, and comic books children, and comic books Meese Commission computers and the Internet censorship, and Internet Internet, and censorship v-chip censorship, and technological filters censorship, and v-chip VCRs values values, and children children, and values media literacy children, and media literacy media literacy, and children motion pictures, and rating system (U. S.) classification, and critics Aristole, and cathasis theory books rating system (U. S.), and Internet catharsis theory children, and media Heins, Marjorie Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth 3190 Heins, Marjorie Sex, Sin, and Blasphemy: A Guide to America's Censorship Wars New York The New Press
1993
Heins is an ardent advocate of censorship and aligned with the American Civil Liberties Union. She explores a broad range of censorship efforts including motion picture ratings and efforts to label music lyrics. She argues that laws against obscenity in entertainment and art are "a foolish, archaic, and unfair departure from the principles of free speech." She opposes efforts by government and private pressure groups "to mandate standards of content or taste, or to tell Americans what we may see, read, and enjoy in the realm of art or entertainment." With regard to censorship, "artistic expression ... should have the broadest possible defintion." She devotes chapters to motion pictures, music lyrics, and pornography. values sexuality values obscenity motion pictures law censorship and ratings censorship motion pictures and popular culture motion pictures, and censorship censorship, and motion pictures censorship, and music censorship, and music obscenity, and media blasphemy, and media pornography pornography, and censorship censorship, and pornography values, and censorship values, and music lyrics values, and motion pictures critics ACLU values Heins, Marjorie Sex, Sin, and Blasphemy: A Guide to America's Censorship Wars 2380 Heitmann, Jürgen K. R. An Analytical Approach to the Standardization of Digital Videotape Recorders SMPTE Journal
March 1982
91 3 229-32 See filed under SMPTE Journal (1982) (1985). “An agreement has been reached between the Society of Motion Picture and Television Engineers and the European Broadcasting Union concerning the most important parameters for digital television signal operation,” the author writes. “It is now possible to proceed with standardization of the videotape recorder. The parameters that must be considered toward this goal are discussed,” he explains. “Conclusions are reached about the basic standardization principles that must be taken into account.” The author sets out “what parameters must be standardized and which one will not preclude compatibility if not standardized.” video cassette recorders (VCRs) magnetic recording magnetic tape digital media non-USA VCRs VCRs, and standardization Europe Europe, and VCR standardization digitization digital media, and VCRs VCRs, and digitization Heitmann, Jürgen K. R. An Analytical Approach to the Standardization of Digital Videotape Recorders 3070 Hellige, Hans Dieter From SAGE Via Arpanet to Ethernet: Stages in Computer Communications Concepts between 1950 and 1980 History and Technology
1994
11 1 49-75 See filed under History and Technology (1994). The author believes that the history of technology has dealt only in a minor way "with the linking of computers, terminals and other teleconnections, or with the genesis of special data communications networks and information systems, despite the fact that these have been under development for over 40 years.... The history of of computing is still the history of hardware and not data processing as such." The primary focus of this article is "on questions relating to the explanatory capacity, and the limits and shortcomings of more recent technohistorical approaches, such as the 'genesis of technology,' and the analysis of technological visions... and especially 'large system history.'"
This article appears in a special issue of History and Technology devoted to "Informati on Technologies and Socio-Technical Systems." Other authors include Daniel R. Headrick, Alan Q. Morton, William Aspray, and James S. Small. technology computers ARPA technology and society labor computers office office, and new media office computers and the Internet computers, and large-scale systems technological determinism Hughes, Thomas infrastructure, and computers computers, and infrastructure computers, and data processing Arpanet SAGE Ethernet infrastructure Hellige, Hans Dieter From SAGE Via Arpanet to Ethernet: Stages in Computer Communications Concepts between 1950 and 1980 33010 Hempstead, Colin A. ed.// William E. Worthington, Jr. assoc. ed. Encyclopedia of 20th-Century Technology New York and London Routledge
2005
2 volumes This Encyclopedia is one of several reference works put out by Routledge that relate to communication technology (Radio, Television, Advertising, Journalism are among the others). This work has many contributors with a good percentage of them coming from Great Britain and Europe as well as the United States. Several broad categories in this two-volume work relate to communication. The include: Communications; Computers; Electronics and Electrical Engineering; Energy and Power; Film, Cinema, Photography; Homes; Materials; Space; Transportation; Television, Radio, Audio Recording; and Warfare. technology R & D reference works ethics entertainment computers entertainment, home dyeing discs, compact references, statistics, timelines, maps bibliographies artificial intelligence sound recording sound recording, audio biotechnology electricity batteries electricity, and batteries computers and the Internet cameras cameras, 35mm digital media cameras, digital cameras, Polaroid chromotography cameras, and lens materials time and timekeeping color photography and visual communication photography photography, and color color, and photography clocks clocks, atomic clocks, quartz ceramics video games networks computers, and supercomputers supercomputers dyes electronics motion pictures genetic engineering information theory integrated circuits Internet lasers microphones loudspeakers nanotechnology photocopying research and development plastics radar radio radio, AM radio, FM rockets satellites aeronautics and space communication sonar values values, and technology technology, and values ethics, see values telephones television color, and television television, and color videotape videotape, and television television, and videotape compact discs (CDs) television, and DVDs DVDs transistors HDTV television, and high definition vacuum tubes war global positioning systems (GPS) fax machines telephones, long distance telephones, digital lighting satellites, and remote sensing artificial intelligence and biotechnology home and new media home entertainment CDs electronic media ethics home duplicating technologies rocketry technology and society magnetic tape magnetic recording computers facsimile global communication Hempstead, Colin A. ed.// William E. Worthington, Jr. assoc. ed. Encyclopedia of 20th-Century Technology 41370 Hendrick, Burton J. The Bill-Board Abomination Leslie's Monthly Magazine
May 1905
60 1 85-91 electric lighting billboards art advertising and public relations color color, and advertising advertising, and color art, and advertising advertising, and art modernity modernity, and advertising advertising, and modernity new way of seeing new way of seeing, and advertising advertising, and new way of seeing posters advertising, and posters posters, and advertising advertising, and billboards billboards, and advertising color, and billboards critics critics, and billboards electric signs electricity electricity, and electric signs advertising Hendrick, Burton J. The Bill-Board Abomination 6320 Hendricks, Gordon The Kinetoscope: America’s First Commercially Successful Motion Picture Exhibitor New York The Beginnings of the American Film
1966
Hendricks discusses how early moving pictures were innovative in their treatment of history. He considers the film Execution of Mary, Queen of Scots (1895) and how it used stop-motion substitution. This technique allowed for the appearance on screen of a real beheading. It is also an early example of how film was able to manipulate time. (See especially 137-40.) history history and new media motion pictures, and history history, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures time and timekeeping motion pictures, and stopping time motion pictures, and Execution of Mary,Queen of Scots motion pictures Hendricks, Gordon The Kinetoscope: America’s First Commercially Successful Motion Picture Exhibitor 23860 Hentoff, Nat The Justice Department's Tainted Fruit: Harassing Those Engaged in Lawful Activity Is Not a Proper Function of Government Washington Post
July 25, 1992
A A21 This article covers criticism of the U. S. government's strategy of launching multi-cases, each in different states, to harass pornographers out of business. "'The heart of this strategy,' a former Utah U.S. attorney said in a letter to [Edwin] Meese, 'calls for multiple prosecutions (either simultaneous and successive) at all levels of government in many locations.'" In a case involving the Adam & Eve company, the 10th Circuit Court of Appeals in Denver called the government's indictment "the tainted fruit of a prosecutorial attempt to curtail ... future First Amendment protected speech....'" presidents, and new media Reagan administration values sexuality values obscenity law censorship and ratings Meese Commission pornography pornography, and Meese Commission pornography, and opponents pornography, and legal obscenity, and pornography pornography, and obscenity obscenity, and legal Reagan administration, and pornography pornography, and Reagan administration censorship censorship, and Reagan administration Reagan administration, and censorship Meese Commission, and critics, law, and pornography Hentoff, Nat The Justice Department's Tainted Fruit: Harassing Those Engaged in Lawful Activity Is Not a Proper Function of Government 1600 Herbert, Robert L. A Color Bibliography Yale University Library Gazette
July, 1974
49 1 3-49 Herbert’s introductory essay runs from pp. 3-29. This work is one of two bibliographies on color cited in Neil Harris’ Cultural Excursions (1990). Herbert's essay is part of an issue devoted to “The Faber Birren Collection on Color in the Art Library.” Birren was a well-known color consultant, and wrote and edited books about color theory and color psychology. He donated his personal library to the Art Library at Yale University. An annotated bibliography of Birren's books (pp. 29-49) follows Herbert's essay.
Of Birren's work, Herbert wrote: "Histories of color and color theory are remarkably rare, and are usually devoted to one aspect, not to the whole issue. The writings of scientists in the twentieth century are markedly ahistorical, and can even be considered antihistorical. They tend to be limited to contemporary statements, and when they do look to the past, it is to deal with those aspects which retain validity, omitting outmoded concepts despite their significance to the historian.
"Only Faber Birren has attempted to summarize the several aspects of color history, in the sciences, the arts, religion, and popular knowledge. His Story of Color (1941) remains the unrivaled general history, its lay summaries not improved upon in his more copiously illustrated Color, a Survey in Words and Pictures (1963)."
See also Robert C. Kaufmann's brief discussion of the Birren Collection in Yale University Library Gazette, 48, No. 1 (July 1973), 211-12. photography photography and visual communication bibliographies color, and bibliographies bibliographies, and color color Birren, Faber Herbert, Robert L. A Color Bibliography 9820 Herbst, Susan Numbered Voices: How Opinion Polling Has Shaped American Politics Chicago University of Chicago Press
1993
Herbst notes that polls often have a symbolic significance. “Quantitative data from polls and surveys are numerical symbols which have proven to be powerful, multilayered ones when used in political discourse. On one level, numbers have the ‘magical’ quality [Ernest] Cassirer alluded to: They are precise, elegant, and above all, scientific. Numbers enable objectivity, and objectivity is one road to enlightenment.” (38)
She discusses ways in which public opinion is defined. “In general, the various meanings of public opinion can be sorted into four definitional categories: Aggregation, Majoritarian, Discursive/Consensual, and Reification....Today we tend to think of public opinion as the aggregation of anonymously expressed opinions....This approach [majoritarian] is also aggregation-oriented, but does not treat all opinions equally: It assumes that minority opinion is less significant than majority opinion...The definitions in the third category [consensual] all emphasize the role of communication in the public opinion process. In order for people to know when they have stepped outside the bounds of acceptable behavior, they must understand the extent of these bounds....A fourth category of definitions assumes pubic opinion to be a fiction or a reification. Writers such as Walter Lippmann believed that public opinion is a projection of media or elite opinion,” Hebst says. (44-46)
Journalists have come to treat opinion surveys as news while power brokers often use them for leverage. “Polls are used symbolically today by presidents, members of Congress, interest groups, and others wishing to gain political advantage and public support. Yet journalists no longer use polls in his manner, because the norms of journalism have changed so dramatically since the mid-nineteenth century. Today, survey results are quite intentionally treated by reporters and editors as news, although poll data are sometimes used to punctuate a particular theme in a news story.” (87)
Herbst doubts that polls have led to more political participation or improved the quality of public discussions about important issues. “Quantitative opinion data are everywhere, but have they made political discourse more ‘democratic’ or more substantively ‘rational’? It seems, from his discussion, that the use of numbers to describe popular feeling has not encouraged political involvement or enhanced political discourse in any significant way. Even though opinion polls are valuable to political candidates, journalists, and presidents--both instrumentally and symbolically--their impact on political expression has not been as dramatic as early pollsters once had hoped.” (175) mathemathics journalism community democracy news and journalism polling newspapers news democracy and media polling polling, and history of television newspapers, and polling democracy, and television television, and democracy numeracy mathematics, and politics democracy, and polling Herbst, Susan Numbered Voices: How Opinion Polling Has Shaped American Politics 9350 Herdershot, Heather Saturday Morning Censors: Television Regulation Before the V-Chip Durham, NC Duke University Press
1998
; media effects See also: media convergence See also: mass media Hendershot examines the history of censorship efforts since the 1950s aimed at safeguarding children from violence, sexism, racism, and commercialism on television. By focusing on what censorship and regulation are and how they work -- rather than on whether or not they should exist -- Hendershot shows how adults use these processes to reinforce their own ideas about childhood innocence.
--Robert Pondillo television, and values law law censorship and ratings values regulation media television censorship, and television regulation, and television television, and censorship values, and television media literacy Pondillo, Robert censorship Herdershot, Heather Saturday Morning Censors: Television Regulation Before the V-Chip 11300 Herman, Arthur The Idea of Decline in Western History New York The Free Press
1997
Herman provides some discussion of how such theorists as the Frankfurt School viewed the relation between technology and culture. For Theodor Adorno and Max Horkheimer sound film, television, cartoons, and advertising degraded culture. For Walter Benjamin, technology changed experience into "a never-ending series of shocks to the individual's consciousness." Benjamin believed that photography and other forms of mass reproduction destroyed the uniqueness of art. Herbert Marcuse, though, held some hope that technology might eventually bring capitalism's downfall. preservation history, and new media non-USA motion pictures history television motion pictures Frankfurt School motion pictures, and Frankfurt School Adorno, Theodor Horkheimer, Max Benjamin, Walter Marcuse, Herbert capitalism, and technology history, idea of decline duplicating technologies capitalism Herman, Arthur The Idea of Decline in Western History 9250 Herman, Edward S. and Chomsky Noam Manufacturing Consent: The Political Economy of Mass Media New York Pantheon Books
1988
Herman and Chomsky describe the media as purveyors of propaganda, with information filtered through a set of assumptions about what should be reported as news. They believe that news content is determined by what information media organizations are given and by the biases through which news events are viewed and reported. These biases are determined by official sources and there is pressure on the media to view news in conformance with these biases. Chapter 1 is entitled “A Propaganda Model,” and Chapter 2 is “Worthy and Unworthy Victims.”
--Phil Glende
 This book, co-written with Edward S. Herman, is Noam Chomsky’s major work on the mass media. In it, the authors propose a propaganda model of the press and use it to predict basic news coverage of political events in Latin America, the Middle East, and Southeast Asia. They compare and contrast news coverage from various sources about similar events taking place in different parts of the world. The examples show how some events are highlighted or ignored, depending on how they fit into the preconceived image of the situation.
The propaganda model is based on five major elements, or filters as they are called in the book. The first is that the size, ownership, and profit orientation of the mass media determine its purpose and agenda. This argument is familiar to readers of Ben Bagdikian and Robert McChesney. Second, the mass media depends on advertising for revenue and profit, and therefore applies itself to benefiting advertisers and business concerns, and to creating a public atmosphere that is supportive of corporate endeavors. The mass media is unlikely to be critical of the corporate agenda or engage in meaningful analysis of corporate behavior. Next, the mass media is reliant on official sources of information, including government, public relations agencies and think tanks. By “objectively” reporting these expert and official sources, the mass media presents a very narrow and one-sided perspective. Fourth, when members of the mass media overstep the bounds of propriety, they are often subject to flak from media observers and monitors. This criticism often takes the form of complaints about liberal bias or loss of objectivity, and is itself very selective and biased. Last, all coverage is filtered through the rhetoric of anticommunism. The cold war ideology of global struggle between communism and freedom is applied uncritically to every situation. In recent years, this rhetoric has lessened, but you can still see certain code words like “terrorism” being used in this way.
Herman and Chomsky turn to many examples of media coverage that is predicted by this model. They show that coverage of elections in Latin America, for example, depends on the interests of American business or government agencies. Pro-American leaders are called democratic and opponents are called leftists or communists. Chomsky and Herman also discuss what they call worthy and unworthy victims. Here victims of human rights abuses are given different treatment, or ignored entirely, depending on who they are and who was responsible for the abuse. Again, certain patterns of coverage emerge. The book also contains a lengthy analysis of news coverage of the Vietnam War, or wars as they say. They completely discredit the idea that the press was critical of the war and responsible for bringing it to an end. In fact, the press was an active supporter of the war and almost always framed the issues in pro-military or pro-government ways.
The implications of this kind of news coverage for democracy and active deliberation by the public are discouraging. Chomsky and Herman, in fact, argue that the United States is really an oligopoly and that the democratic process is an illusion, or manufactured consent. They do, however, believe that the system can be reformed to reflect a more democratic value structure. The press is not controlled by a totalitarian regime and there is room to overcome self-censorship and institutional bias. Chomsky writes at great length about these ideas in other works.
--Rob Rabe nationalism advertising, and public relations Vietnam War propaganda advertising public relations advertising journalism community democracy Cold War law censorship and ratings censorship news and journalism war non-USA values news propaganda democracy and media critics Glende, Phil values, and media political economy news, and mass media news, and corporate bias Rabe, Rob Chomsky, Noam news, and capitalism capitalism, and news public relations news, and public relations public relations, and news nationalism and communication news, and nationalism news, and anticommunism Cold War, and news news, and Cold War news, and government Vietnam War, and news news, and Vietnam War democracy, and news bias news, and censorship censorship, and news capitalism military communication Herman, Edward S. and Chomsky Noam Manufacturing Consent: The Political Economy of Mass Media 9260 Herman, Edward S. and Robert W. McChesney The Global Media: The New Missionaries of Corporate Capitalism London Cassell
1997
Herman and McChesney argue that media companies and others in related fields are working to maintain market position in the rapidly changing and still unpredictable field of digital technology. The phone companies, the cable companies, the software companies and the mass media conglomerates are joining forces to make sure that each can claim a portion of the market. With that sort of control in place, they say, it seems probable that without some intervention, the digital world will be determined by the business elite who can control the research, the marketing, the applications and the public expectations of the technology. Chapter 4 (106-35) is entitled “Global Media, the Internet, and the Digital Revolution.”
--Phil Glende

 The authors raise four major points:
1) A striking trend of the past decade has been the accelerated development of a global commercial media system which increasingly shapes the direction and content of national media.
2) This global commercial media system is dominated by some TEN US-based transnational media conglomerates, with another thirty to forty very large, mostly North America and Western European firms occupying niche and regional markets.
3) The global media system is an indispensable component of the globalizing market economy as a whole.
4) This global media system has fundamental structural flaws that limit its service to democracy and even stand as a barrier to the development of meaningful self-government.
The author maintain that the defense of globalization and commercialization rests largely on the argument that despite limitations, the market, competition and the need to satisfy audiences ultimately compels the commercial media to “give the people what they want.”
A second defense of the status quo and globalization-commercialization process depends on the rise of professionalism and rules of objectivity.
A third justification goes under the name of “active audience” analysis, and contends that the power of media firms is exaggerated, as audiences routinely interpret corporate message in ways that suit their own needs, not those of media proprietors or advertisers.
A fourth argument claims that the new communications technologies have conquered the scarcity problem and provide new possibilities for competitive communication, thereby removing the monopoly power threat from the continuing expansion of the media giants.
Finally, it is necessary to support the media status quo because, it is said, there are no viable alternatives to the developing commercial system. (189-97)
Herman and McChesney see several problems with using the market as the basis of a system of mass communication.
First, the market treats audiences as consumers, not citizens, so that serving a public sphere function is outside its purview.
Second, although the market treats audiences as consumers rather than as citizens, it does not make consumers “sovereign” in the sense of allowing them a choice in what is offered.
Third, being funded by advertisers, the media service audiences on advertisers’ terms.
Fourth, there is rarely full competition and this system may be subject to serious monopolistic restrains. (190-91)
--Amy Chu computers corporations corporations, multinational advertising, and public relations propaganda public relations journalism community democracy news and journalism non-USA values news political economy computers and the Internet Glende, Phil global communication multinational corporations democracy and media critics news, and corporate bias values, and media telephones cable, television cable McChesney, Robert digital media capitalism, and digital media capitalism, and news digital media, and capitalism digitization Chu, Amy advertising, and media advertising, and corporate bias advertising capitalism Herman, Edward S. and Robert W. McChesney The Global Media: The New Missionaries of Corporate Capitalism 5710 Herrmann, Irvin A. Manual of Office Reproduction: Reproduction Processes Systems Duplicating Imprinting Methods New York Office Publications Company
1956
See also: office This work offers insight into the duplicating processes available during the mid-1950s, from carbon paper and its substitutes, to stencils to photocopying and facsimile transmissions. The text, which devotes 22 short chapters to each of these processes, runs from pages 78-173. The remainder of the work consists of advertising, which is in itself interesting. computers photography advertising, and public relations propaganda public relations print office labor materials computers and the Internet writing printing printing press photography and visual communication office, and information technology information technology Information Age duplicating technologies carbon paper facsimile stencils photocopying information technology, and office advertising, and duplicating technologies typewriters duplicating technologies, and gelatin hectograph information processing punch cards writing, and signature machines data transmission computers, and punch cards typewriters, and automatic printing, contact photography, and office duplicating technologies, and stencils duplicating technologies, and carbon paper duplicating technologies, and gelatin hectograph duplicating technologies, and carbon paper substitutes duplicating technologies, and impression stamps cameras, and duplicating technologies duplicating technologies, and cameras advertising cameras computers computers, and punch cards writing machines office materials Herrmann, Irvin A. Manual of Office Reproduction: Reproduction Processes Systems Duplicating Imprinting Methods 960 Hertenstein, Edward Distance Learning in Labor Education Labor Studies Journal
Winter 1999
23 4 3-16 See also: office Hertenstein argues that new technology allows labor educators to use distance education to reach more students at a lower cost than in traditional classroom settings. He reports on his study of student responses to distance education at the University of Illinois, Urbana-Champaign from 1993 to 1997. Using two-way television links for distance education offers students access to instructors while reducing barriers involving “distance from campus, time constraints, work responsibilities, and family responsibilities.” Hertenstein surveyed 59 students in labor education courses, including 41 at distant classrooms who participated by two-way video and video link over a high-speed telephone line. Contrary to his expected outcome, Hertenstein found more positive evaluations from those involved in distance education than from traditional students. Hertenstein suggested students at distant sites might have been predisposed to be satisfied with their experience because they choose a non-traditional setting for instruction.
--Phil Glende Glende, Phil labor labor, and new media labor, and distance education Hertenstein, Edward Distance Learning in Labor Education 19480 Hertzberg, Hazel Whitman The Teaching of History Michael Kammen, ed. The Past Before Us: Contemporary Historical Writing in the United States Ithaca Cornell University Press
1980
474-504 Hertzberg commented on the post-World War II baby boomers, the "now" generation as she called them, and speculated on why they seemed uninterested in history. Part of the explanation was television and advertising which focused attention intensely on the present. "Following World War II, the 'now' model emerged. Its growth was due partially to affluence because only an affluent society could afford to delay the entrance of large numbers of persons into the labor market or to underemploy them, and to support the widespread experimentation and the variety of institutions, many of them temporary, in which nowness found its home; partially to the rapid pace of change, so rapid that traditional social institutions had great difficulty in adjusting to it; and partially to television, with its intense focus on the new and its sudden temporal reversibilities. Adolescents and youth, whose numbers increased as a result of the post-World War II baby boom, were the groups most affected." (493)
Hertzberg, born in 1918, was then a professor of history and education at the Teachers College of Columbia University. present mindedness television television, and history history, and break with advertising, and history history, and advertising time presentism history, and presentism history, as linear children and media history and new media media effects media effects, and television advertising children history advertising and public relations time and timekeeping Hertzberg, Hazel Whitman The Teaching of History 250 Herz, J. C. Joystick Nation: How Videogames Ate Our Quarters, Won Our Hearts, and Rewired Our Minds Boston Little, Brown and Company
1997
See also: violence See also: sexuality This book, published in 1997, argues that two generations of children who grew up playing five generations of video games now live in the United States. “This is not a small group of people. This is not a subculture. This is 50 million adults whose memory and imagination have been colored by Atari, Nintendo, and Sega, the same way that the memory and imagination of previous generations were tinted by television, cinema, and vinyl records,” writes Herz.(1) She has two goals: trace the history of videogames as they have evolved from the first game produced in 1961 at MIT up to 1997; and “to trace their radiation into our patterns of thought.” (3)
This work provides a 10-page timeline. Herz also devotes a chapter to the military-industrial complex, and to the work of such companies as Lockheed Martin. She notes that often Hollywood has been more successful in innovative work than have military designers seeing accurate simulations of battlefield conditions. She writes that “most of the technology that’s now used in videogames had its origins in military research. When you trace back the patents, it’s virtually impossible to find an arcade or console component that evolved in the absence of a Defense Department grant.” (204-05) This 230-page book has no notes or bibliography, but does have a three-page index. R & D computers children corporations military-industrial complex corporations timelines motion pictures research and development war Lockheed Martin Co. censorship and ratings war computers and the Internet video games military communication Lockheed Martin, and video games video games, and Lockheed Martin military-industrial complex, and video games video games, and history of media effects media effects, and video games video games, and media effects motion pictures and popular culture video games, and motion pictures motion pictures, and video games video games, and Atari CD-ROMs, and video games video games, and CD-ROMs video games, and Magnavox Odyssey games video games, and Mortal Kombat video games, and Nintendo video games, and Sega timelines, and video games children children, and media children, and video games video games, and children children, and media effects video games, and military CD-ROMs References, Statistics, Timelines, Maps Herz, J. C. Joystick Nation: How Videogames Ate Our Quarters, Won Our Hearts, and Rewired Our Minds 32990 Herzog, David Mapping the News: Case Studies in GIS and Journalism Redlands, CA ESRI Press
2003
This book was written to show journalists how better to use geographic information systems (GIS). The author provides ten case studies: 1) the Miami Herald's coverage of Hurricane Andrew in 1992; 2) the San Diego Union-Tribune's reporting on demographic change in southern California; 3) the Charlotte Observer's reporting on school busing; 4) the Providence Journal's investigation of the effects of lead poisoning on children; 5) the Philadelphia Inquirer's mapping of bars and fatal drunk driving accidents; 6) the Washington Post's stories on the 2000 presidential election and disqualified ballots in Florida; 7) the San Jose Mercury's reporting on the danger of mud slides; 8) the Dallas Morning News' coverage of public housing near toxic waste sites; 9) the Columbus Dispatch's account of unfair assessments of property in central Ohio; and 10) use of Internet mapping services by the Chicago Tribune and the Times in northwestern Indiana. Herzog provides two appendices, one that offers story ideas using GIS and one indicating how to finding free maps layers and other relevant information. computers news and journalism aeronautics and space communication news, and satellites satellites, and news journalism, and satellites satellites, and journalism news, and maps visual communication news, and graphics computers and the Internet news, and computers journalism, and computers computers computers, and news computers, and journalism news, and computer-assisted reporting geographic information systems, see GIS news, and GIS GIS, and news television television, and news news, and television television, and GIS GIS, and television television, and graphics books, periodicals, newspapers newspapers, and graphics newspapers, and GIS GIS, and newspapers newspapers, and illustrations references, statistics, timelines, maps newspapers computers and the Internet journalism news satellites Herzog, David Mapping the News: Case Studies in GIS and Journalism 31550 Hetzel, Ralph Campus Interest in Pix Variety
Jan. 5, 1968
5, 47 This article notes that at the time, there were about 4,000 film societies on college and university campuses that show films to about 2,500,000 people each year. These societies were especially interested in "art" films and in foreign movies. Most of the pictures were shown in 16mm. self-regulation Hollywood motion pictures censorship and ratings foreign films sexuality motion pictures, and foreign films foreign films, and sexuality Hollywood, and subsidiaries Production Code, and foreign films censorship, breakdown of 16mm foreign films, and 16mm 16mm, and foreign films Production Code Production Code (motion pictures) censorship Hetzel, Ralph Campus Interest in Pix 20810 Hevesi, Dennis Rate Put at 88 Percent In Court Survey On Camera Use New York Times
Sept. 22, 1988
B 5 Richard Heffner, who chaired a committee to evaluate camera use in court rooms in New York State, said the survey revealed that there was no "circus atmosphere" and said initial concerns about TV cameras have proved unwarranted. He said he doubted if most people know how new technology had made cameras unobtrusive. The number of cameras, lights, and cable needed had been minimized. Heffner wondered, though, if camera coverage had enhanced the public understanding of how courts operated. At this time, Heffner moderated a television program in New York, "The Open Mind," and also chaired the movie industry's Classification and Rating Administration. motion pictures and popular culture motion pictures motion pictures, and Richard Heffner Heffner, Richard, and background Heffner, Richard Open Mind, and Richard Heffner television television, and Richard Heffner Heffner, Richard, and television Heffner, Richard, and Open Mind Heffner, Richard, and educational TV Heffner, Richard, and TV in courts Hevesi, Dennis Rate Put at 88 Percent In Court Survey On Camera Use 3310 Heyer, Paul Empire, History, and Communications Viewed from the Margins: The Legacies of Gordon Childe and Harold Innis Continuum: The Australian Journal of Media & Culture
1993
7 1 91-104 Heyer examines an exchange between Harold Innis, the Canadian historian and political economist, and Gordon Childe (1896-1957), an archaeologist who was perhaps "Australia's most widely published and influential scholar." nationalism non-USA Innis, Harold Innis, Harold, and Gordon Childe nationalism and communication Innis, Harold, and new media Innis, Harold, and literacy Innis, Harold, and Australia Australia Australia, and Gordon Childe Heyer, Paul Empire, History, and Communications Viewed from the Margins: The Legacies of Gordon Childe and Harold Innis 34570 Heyer, Paul Harold Innis Lanham, MD Rowman & Littlefield Publishers, Inc.
2003
This work is the first book to focus specifically on Harold Innis that focuses on his work dealing with communication and history. Although the work is not a biography, per se, it does deal with Innis's early life and career as an economic historian and political economist. Most of Heyer's 102-page text deals with the last decade of Innis's life when his work elaborated "on three related themes": first, Innis developed "an outline for the study of what is now referred to as communication history or media history, a field for which he remains the definitive cartographer." Second, he elaborated "several key theoretical concepts for the study of communication and culture, such as medium, time-bias and space-bias, the oral tradition, and the monopoly of knowledge." Finally, Innis suggested "how his approach to hihstory and perspective that recent commentators have referred to as 'medium theory' can inform a critique of culture and technology in the contemporary world." (xii-xiii)
Heyer divides this book into seven chapters: 1) The Road to Political Economy; 2) From Fur to Fish; 3) Political Economy Inspires Communication Studies; 4) The 'History of Communications' Project; 5) Time, Space, and the Oral Tradition; 6) Monopolies of Knowledge and the Critique of Culture; and 7) An Enduring Legacy. The work has two appendices. Appendix A (103-11) is William J. Buxton essay "Harold A. Innis's 'History of Communications' Manuscript." Appendex B (113-21) is J. David Black, "The Contributions of Mary Quayle Innis." A Select Bibliography (123-28) follows. This work is part of Rowman and Littlefield's Critical Media Studies Series. Chicago, IL nationalism time and timekeeping writing time history and new media preservation power history information storage history, and new media non-USA history Innis, Harold McLuhan, Marshall political economy present mindedness history, break with communication, and empire nationalism and communication Innis, Harold, and nationalism nationalism, and Harold Innis time space (spatial) power, and temporal bias power, and spactial bias alphabet, and technology writing, and technology alphabet Buxton, William Canada Chicago School materials Heyer, Paul Harold Innis 230 Hibbard, Darrell O. The Moving Picture -- the Good and the Bad of It Outlook
July 13, 1912
101 11 598-99 This article begins by arguing that "unquestionably, the moving picture is the most direct appeal to the understanding. The printed page and the spoken words are tortuous paths to learning as compared to the royal road provided by the cinematograph." (598) The author says that many films are not censored effectively and that many independent films are not censored at all. He calls for the "careful regulation of the places of exhibition" (599) and urges that exhibitors be given the power to refuse films. "A movement for the nation-wide supervision of public exhibitions should be under the Department of Education or Child Welfare at Washington," he concludes. (599) The author was Boys' Work Director of the Young Men's Christian Association. children censorship words vs. images motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings religion religion, and motion pictures motion pictures, and religion images vs. words education motion pictures, and education education, and motion pictures theaters motion pictures, and theaters theaters, and motion pictures Hibbard, Darrell O. The Moving Picture -- the Good and the Bad of It 39380 Hicks, Wilson Words and Pictures: An Introduction to Photojournalism New York Harper & Brothers Publishers
1952
This 159-page book is divided into three parts. Part One, "What Is Photojournalism?" considers the origins of this field and discusses the technology that made it possible. Part Two concerns "The Editor," and Part Three is about "The Photographer."
Hicks begins by explaining that there is "a fundamental difference in the acts of eye and mind by which words and pictures are read." (4) The goal of the photojournalist is reached when "the values" of pictures and words "are equal and in balance, for then the single expressive statement has maximum impact." (5) Drawing on an earlier work by Roger Fry, Vision and Design (1920, 1924), Hicks says that pictures can reveal much more detail that the eye can often see in real life, especially if an event is experienced under great stress. "In a photograph," Hicks writes, "as in a memory image, emotion can be felt and, at the same time, seen dispassionately." (11) Later, Hicks quotes from Susanne K. Langer's Philosophy in a New Key (1942), who said that "the correspondence between a word-picture and a visible object can never be as close as that between the object and its photography." (11) And again from Langer: "The 'elements' that the camera represents are not the 'elements' that language represents. They are a thousand times more numerous.... [An] incredible wealth and detail of information is conveyed by the portrait ... That is why we use a photograph rather than a description on a passport or in the Rogues' Gallery.... Photography ... has no vocabulary.... there are no items that might be called, metaphorically, the 'words' of portraitures." (11, n. 12) [emphasis in original text] In Hicks' views, words and pictures do not "supplement" one another but rather they "complement" one another. (20)
Hicks is somewhat vague about just when newspapers began to use photographs on a regular and mass scale. He notes that probably the first halftone was the pictures of Shantytown in the New York Daily Graphic in 1880, and then in 1886, Le Journal Illustre published eight photographs in an eight-page interview with a French scientist, Marie-Eugene Chevereul. (23) He then comments that "an effective alliance with the halftone plate and the high-speed press, was laid on the doorstep of the twentieth century," but that "it was to be some years before these influences were translated into action." (24) The newspaper photograph was for some time "a novelty," used to brighten up "the newspaper or magazine page." Then, he discusses the appearance of a rotogravure section in the New York Times in 1914, eighteen years after the paper had "pioneered" a Sunday supplement section with halftone illustrations. (25)
Hicks argues that Germany, in particular, sparked a "renascence" after World War I and that there was a great expansion in camera use during the post-World War I period, to largely to the popularization of photography. Portable cameras, specifically the Leica, was "a masterpiece of basic design." (29) This small camera became "practically an added organ" to the photography's body (30) and it set up "a vitally different relationship ... between the photographer and the world about him." (31) The photographer could be much less obtrusive in taking pictures. Also, by "combining large lens and small negative size, the Leica could preserve, in picturing a scene or situation in existing light, the quality of naturalism so often destroyed by the artificial illumination of flash or flood. This held true even after the appearance in 1929 of the flashbulb, welcome advance though it was over the quick magnesium flare." (31) journalism illustrations words vs. images magazines, and photography images vs. words magazines photography news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines illustrations, and newspapers illustrations, and magazines magazines, and illustrations newspapers, and illustration non-USA Great Britain Great Britain, and illustrated journalism photojournalism news, and photojournalism newspapers, and photojournalism photojournalism, and newspapers photojournalism, and cameras cameras, and portable news, and portable cameras cameras, and Leica non-USA Germany Germany, and photojournalism photojournalism, and Germany photojournalism, and non-USA non-USA, and photojournalism photo engraving photo engraving, and newspapers newspapers, and photo engraving newspapers, and half tones half tones, and newpapers lighting lighting, and photography photography, and lighting photography, and flashbulbs lighting, and flashbulbs cameras news Hicks, Wilson Words and Pictures: An Introduction to Photojournalism 1700 Hiebert, Ray Eldon Courtier to the Crowd: The Story of Ivy Lee and the Development of Public Relations Ames Iowa State University Press
1966
Ivy Lee played a key role in the evolution of “public relations,” changing the direction from fraud, hoax, distortion and stunts to factual information. Lee believed that as business must understand the public, so the public must understand business, and he assumed the role of providing the adjustment of relations between public and business.
His thinking can be summarized as follows: “1) Lee believed in individual liberty and felt that economic freedom as expressed in some form of capitalism was most conducive to growth and progress. 2) He believed in democracy where the people were the government and public opinion the final law. 3) He accurate assessed the growing conflict between the individual freedom necessary for industrial success and the power of public opinion in a mass society. 4) He realized that the individual whose activities had public consequence, especially the businessman, must make his actions circumspect in order to preserve his freedom in a mass society. 5) He saw that where individuals, groups, and masses come into conflict, channels of communication must be opened to provide information necessary for them understand each other and find solutions.” (9)
--Amy Chu
 ethics Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories advertising, and public relations propaganda advertising values ethics community democracy Chu, Amy public relations biography Lee, Ivy capitalism, and public relations values, and public relations public relations, and values professionalization, and public relations public relations, and professionalization ethics, and public relations public relations, and ethics democracy, and public relations public relations, and democracy values capitalism professionalization Hiebert, Ray Eldon Courtier to the Crowd: The Story of Ivy Lee and the Development of Public Relations 40920 Higgins, Scott Demonstrating Three-Colour Technicolor: Early Three-Colour Aesthetics and Design Film History
2000
12 4 358-83 Kalmus, Herbert censorship censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and Lansing Holden color, and A Star Is Born color, and novelty color, and Robert Edmond Jones Technicolor, and two-color process Technicolor, and three-color process color, and La Cucaracha color, and Becky Sharp color, and Walt Disney color, and music lighting lighting, and motion pictures motion pictures, and lighting color, and lighting lighting, and color Higgins, Scott Demonstrating Three-Colour Technicolor: Early Three-Colour Aesthetics and Design 40910 Higgins, Scott Technology and Aesthetics: Technicolor Cinematography and Design in the late 1930s Film History
1999
11 1 55-76 Kalmus, Herbert Jones, Robert Edmond censorship censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Technicolor, and Natalie Kalmus Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color censorship, and Natalie Kalmus color, and primitives color, and cinematographers color, and Lansing Holden color, and A Star Is Born color, and novelty color, and Robert Edmond Jones Jones. Robert Edmond, and color Higgins, Scott Technology and Aesthetics: Technicolor Cinematography and Design in the late 1930s 28750 Hilderbrand, Robert C. Power and the People: Executive Management of Public Opinion in Foreign Affairs, 1897-1921 Chapel Hill University of North Carolina Press
1981
This solidly researched book offers an excellent account of the emergence of the modern relationship between the presidency and the press. Hilderbrand sees President William McKinley as important in creating this new relationship. McKinley took an active leader in trying to mold public opinion regarding foreign affairs. McKinley had to respond to changes in newspaper publishing reflected in the papers of William Randolph Hearst and Joseph Pulitzer. The White House began tracking press accounts and the beginnings of the press secretary's function can be said to have begun with McKinley. Theodore Roosevelt was innovative in his use of press releases. In terms of personality, TR was also well-suited to the new media environment of the early twentieth century. William Howard Taft, however, was more rooted in nineteenth-century views about the proper relationship between the White House and the press corps, and as a result, he did not fare well. Woodrow Wilson was much more attuned to new media. He originated the press conference and one of the highlights of this work is that Hilderbrand learned an archaic brand of shorthand used by reporters to recover Wilson's early press conferences. Wilson also established the first large-scale government propaganda agency, the Committee on Public Information, during World War I. It attempted to exploit virtually all of the new media then available -- motion pictures, newsreels, photography, posters, and other forms of visual communication, print sources, and more. This work was a Supplementary Volume to The Papers of Woodrow Wilson, Arthur S. Link, Editor. Wilson, Woodrow Roosevelt, Theodore presidents and new media McKinley administration Roosevelt, Theodore administration Taft, William Howard administration Wilson, Woodrow administration Spanish-American War World War I war McKinley, William, and newspapers news and journalism Roosevelt, Theodore, and newspapers Taft, William Howard, and newspapers Wilson, Woodrow, and newspapers propaganda Wilson, Woodrow, and mass media Wilson, Woodrow, and propaganda Committee on Public Information World War I, and propaganda propaganda, and World War I Spain McKinley, William Taft, William Howard Hilderbrand, Robert C. Power and the People: Executive Management of Public Opinion in Foreign Affairs, 1897-1921 17910 Hill, Bruce Mitchellmatic 16: Cordless Cassette-Loading Action Camera American Cinematographer
Dec., 1969
50 12 1204-06 See filed under American Cinematographer (1969). This 1969 article discusses a cassette-loading 16mm camera. This piece, and indeed the American Cinematographer in general, offer good material on changing camera technology. materials cinema motion pictures celluloid film color motion pictures and popular culture motion pictures motion pictures, and history of 16mm cameras, and 16mm film, and 16mm cameras, and portable 16mm cameras cameras materials Hill, Bruce Mitchellmatic 16: Cordless Cassette-Loading Action Camera 9270 Hill, Frank Ernest Tune In for Education: Eleven Years of Education by Radio New York J.J. Little & Ives Co.
1942
Hill reports on the official record of the National Committee on Education by Radio, a group devoted to increasing the presence of educational radio from 1930 to 1941, as broadcasting matured into a largely commercial enterprise. As the authorized version of events involving the committee, the book provides an uncritical look at the strategy and concerns of one of the major organized opposition forces during the era when the Federal Communications Commission was established.
--Phil Glende Federal Communications Commission (FCC) regulation education community democracy law regulation radio radio, and education education, and radio democracy and media FCC regulation, and radio National Committee on Education by Radio Glende, Phil democracy, and radio censorship and ratings Hill, Frank Ernest Tune In for Education: Eleven Years of Education by Radio 36430 Hill, Gladwin Hollywood Airs View of Criticism: Film Makers Though Not Defiant, Counter Bishops' Attack on Moral Tone New York Times
Dec. 1, 1960
40 This article discusses the change tastes of the American movie public and suggests that the Catholic Church's criticism of morality in the movies may not longer carry the weight it once did. Among the films discussed are The World of Suzie Wong (1961), a movie made in Hong Kong and England, about a prostitute. The articles says: "The public's standard of tastefulness is dynamic and changing: viz., the booking into the Radio City Music Hall, the nation's No. 1 'family' theatre, of 'The World of Suzie Wong.'" self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and prostitution Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code World of Suzie Wong motion pictures, and foreign markets motion pictures, and American-interest film Legion of Decency values Production Code, and prostitution sexuality motion pictures, and sexuality sexuality, and motion pictures Hill, Gladwin Hollywood Airs View of Criticism: Film Makers Though Not Defiant, Counter Bishops' Attack on Moral Tone 35910 Hill, Gladwin Hollywood Rules: Being an Analysis of the Criticized Motion Picture Production Code New York Times
Dec. 11, 1960
X11 This article notes the growing criticism of "the increasingly gamey content of films" and of the Production Code. The Code's operation is voluntary, althugh military bases and many lay and religious groups won't show films without the PCA seal. Geoffrey Shurlock is quotes as saying: "Our criteria are whether the treatment of a topic (a) conforms with established morality and (b) whether it is in good taste." self-regulation sexuality sexuality motion pictures, and Production Code Administration (PCA) motion pictures, and sexuality values Catholic Church Christianity , news motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA motion pictures, and sex motion pictures, and sex motion pictures, and language motion pictures, and language Production Code, and language censorship and ratings children and media motion pictures, and children children, and motion pictures Production Code (1956) violence Production Code, and violence Production Code, and substance abuse children children and media television First Amendment motion pictures, and classification classification, and motion pictures motion pictures, and homosexuality Catholics, and motion pictures motion pictures, and Catholics Shurlock, Geoffrey Shurlock, Geoffrey, and PCA Johnston, Eric Johnston, Eric, and Production Code freedom capitalism motion pictures, and capitalism Hill, Gladwin Hollywood Rules: Being an Analysis of the Criticized Motion Picture Production Code 32330 Hill, Henry Color Game Traps Bob Beck Color Games: Light Show Manual Los Angeles Pericles Press
1966, 1967
18-20 Dr. Henry Hill's erotic psychedelic art was used in Roger Corman's movie The Trip (1967) to intensify the nude love-making scenes between actors Peter Fonda and Susan Strasberg. In this essay, Hill "color interacts deeply and emotionally," especially on schizophrenics. In general, Hill believed that "dynamic, ever-changing color is more than beautiful and stirring. It can be psychological dynamite." Robert Beck also believed that light and color could be used to influence audiences subliminally and by-pass people's internal censors. Beck helped create the special effects on The Trip, about the experience of taking LSD. censorship motion pictures, and sexuality sexuality motion pictures and popular culture motion pictures motion pictures, and drugs motion pictures, and drugs censorship and ratings special effects cameras cameras, and motion pictures motion pictures, and cameras lighting, and motion pictures motion pictures, and lighting color lighting color, and motion pictures motion pictures, and color motion pictures, and LSD sexuality motion pictures, and sexuality sexuality, and motion pictures Corman, Roger Beck, Robert, and special effects special effects, and Robert Beck color, and censorship censorship, and color censorship, and lighting lighting, and censorship censorship Hill, Henry Color Game Traps 9080 Hill, Kevin A. and John E. Hughes Cyberpolitics : Citizen Activism in the Age of the Internet Lanham, MD Rowman & Littlefield
1998
computers community democracy community computers and the Internet democracy and media cyberpolitics public sphere cyberspace democracy, and Internet community, and Internet Hill, Kevin A. and John E. Hughes Cyberpolitics : Citizen Activism in the Age of the Internet 13760 Hill, W. E. What’s Wrong with the Movies? Chicago Daily Tribune
April 2, 1922
B 12 This is a two-page send up of mostly of pictures with captions. One discusses C. Huributt Growl, “assistant sub editor” on the “Tri-monthly Review,” who is going to talk about “What’s Wrong with the Motion Picture Industry.” “He is full of withering phrases like ‘Degradation Through Sex Appeal,’ ‘Low Tone of Morality,’ and ‘Sterility of Purpose.’ Everything’s wrong with the movies, according to C. Huributt. Perhaps C. H.’s latest returned scenario has something to do with it.” immorality children Chicago, IL censorship photography motion pictures sexuality motion pictures, and sexuality sexuality, and motion pictures photography and visual communication photography, and sexuality sexuality, and photography advertising, and sexuality sexuality, and advertising modernity modernity, and motion pictures motion pictures, and modernity new way of seeing censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings theaters motion pictures, and theaters theaters, and motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children advertising and public relations advertising, and motion pictures motion pictures, and advertising sensationalism motion pictures, and sensationalism sensationalism, and motion pictures advertising, and sensationalism sensationalism, and motion pictures nudity nudity, and the stage theaters theaters, and 5-cent values, and theater values, and motion pictures motion pictures, and values theater, and values values immorality, and theater immorality, and motion pictures motion pictures,and immorality religion religion, and motion pictures religion, and theater theater, and religion motion pictures, and religion motion pictures, and Chicago Chicago, and motion pictures advertising theater Hill, W. E. What’s Wrong with the Movies? 9280 Hilmes, Michele Radio Voices: American Broadcasting, 1922-1952 Minneapolis University of Minnesota Press
1997
Hilmes assembled a history of radio broadcasting and argues that the structure of commercial television management and the form of commercial television content was modeled after the broadcasting industry that developed beginning in the early 1920s. She argued that radio had a nationalizing effect on the general audience, not only by providing a shared content experience and direction for mass consumption but also by providing what amounted to a national standard of pronunciation. This came at a time when film was making the transition to sound, when many second-generation immigrants were learning how to speak from their parents and the mass culture, and when rural Americans were moving to urban centers, especially from the South to the North.
--Phil Glende

 Hilmes looks at the way radio was programmed in the United States from 1920s through the coming of commercial television. Her focus is on how radio programming influenced and was influenced by the cultural influences of the early twentieth century. Her central thesis discusses how the programs of the first radio network, -- NBC --dealt with popular understandings of race, ethnicity, and gender in the United States, and how it helped build the "imagined community" of the 1920s.
Hilmes explores "Amos 'n' Andy" and its negations of racial tensions and "The Rise of the Goldbergs" and its concern for ethnic assimilation. She talks about and reflects upon "influential narratives" of the housewife-targeted daytime radio serials and argues these much-disparaged shows (by men!) provided a space for women to discuss conflicted issues of gender in a Post-Victorian, but nonetheless, patriarchal society and culture. She reflects upon early radio experimentation which developed and "gradually naturalized" the framework of structures and practices that also influenced programs.
Hilmes also explores industry censorship from the point of view of the network's Standards and Practices Department, and considers the culturally homogenizing role of radio advertising for the U.S. The final chapter traces radio's contribution to World War II (i.e., recruiting women for war, containment marginal voices against the war), including the organization of the Office of War Information (OWI) and its internal squabbles.
The book is multi-focused, ambitious and has quite a broad sweep, which is one of its few problems. Although Hilmes admits she was forced to leave out much in the book, Radio Voices is still satisfying, and very well realized.
--Robert Pondillo OWI nationalism corporations corporations ethnicity women, and new media advertising, and public relations race propaganda public relations law law censorship and ratings censorship war World War II women radio nationalism and communication Glende, Phil advertising, and radio radio, and immigrants women, and radio ethnicity, and radio World War II, and radio Office of War Information (OWI) NBC Pondillo, Robert advertising nationalism, and radio race, and radio radio, and race regulation, and radio censorship, and radio radio, and censorship radio, and ethnicity regulation Hilmes, Michele Radio Voices: American Broadcasting, 1922-1952 33030 Hilmes, Michele ed. NBC: America’s Network Berkeley University of California Press
2007
Hilmes divided the essays in this well-organized book into four categories: “Broadcasting Begins, 1919-38”; “Transitional Decades, 1938-60”; “NBC and the Classic Network System, 1960-85”; and “NBC in the Digital Age, 1985 to the Present.” The first category explores the rise of networks, their mutual battles and collaborations, the public interest of programming and class conflicts. The second part deals with the creation of the Federal Communications Commission (FCC), World War II, and race representation. The next part goes into satire, Star Trek, sex, and children’s programming. The fourth and final part is dedicated to the rise of digitalization in the world of broadcasting.
--Bart Nijman future Nijman, Bart television television, and NBC nationalism sexuality television, and values media effects media violence violence community democracy censorship and ratings television, and culture cable television television, and cable aeronautics and space communication satellites global communication television, and satellites nationalism and communication democracy and media metaphors information superhighway children, and media violence, and video violence, and media television, and sex values, and television cable children nationalism, and television nationalism, and satellites violence, and television television, and violence democracy, and cable television future and science fiction women women, and television television, and women sexuality, and television television, and sexuality television, and censorship censorship, and television television, and science fiction science fiction, and television digital media digital media, and television television, and digitization censorship science fiction values Hilmes, Michele ed. NBC: America’s Network 1450 Himmelstein, Hal Television Myth and the American Mind Westport, CT Praeger
1994
In Television Myth and the American Mind, Hal Himmelstein argues that the television industry and its products disseminate and perpetuate archetypal American myths. In order to advance this basic thesis, Himmelstein takes a cultural studies approach based on seminal works such as Roland Barthes’ Mythologies (1957), which argue that ideologies or mythologies can be embedded into seemingly-innocuous cultural artifacts like commercials or television news programs. Using a cultural studies framework, then, Himmelstein analyzes a number of different television products--from adventure shows to commercial spots--to demonstrate how television has helped shape an American mythology.
Himmelstein frames his study around “six well-ordered and potent ideological constructs that pervade television programs”:

1) The sanctity of the “ordinary” American family;
2) The triumph of personal initiative over bureaucratic control and inefficiency of
the state;
3) One’s gain at another’s expense;
4) The elevated status of quiet authority in the status hierarchy of power and social
control;
5) The celebration of celebrity;
6) The mystification of history and the deflection of questions of social structure
into the “persona” (10-11)

After establishing these six mythic categories, Himmelstein proceeds to analyze various types of television programs in order to show how these categories are created or reinforced--whether intentionally or not. The greatest strength of Himmelsteins study, in fact, is that he examines both how television programs are conceived and constructed by the industry, and how they are finally received by the American public. It is this complex of industry intention and the publics mythological appropriation, Himmelstein argues, that makes television such a powerful social and cultural force.
Himmelstein is at his best when analyzing specific case studies that exemplify his cultural theories. In a chapter called “Advertising: The Medium Is the Mirage,” for example, he examines a 1984 Kodak television spot spearheaded by the well-known J. Walter Thompson advertising agency. This ad, called “America,” featured a man on a motorcycle riding through the American landscape encountering different types of people from Native Americans to Vietnam veterans to small children coming home from school. As Himmelstein argues, this spot exploits several of the American myths cited above in order to urge the viewer to buy Kodak film. As the soundtrack to the spot, “Because Time Goes By,” reminds the viewer, such “Americannes” is fleeting at best, and must therefore be captured on film (68-90). Himmelstein deconstructs this spot to show that the what is essentially American about the spot is that it is composed of myths which have been likewise sustained by other forms of mass media. As Himmelstein moves into a discussion of television entertainment, then, he wants his reader to understand that the line between advertisements and other types of television programming is not as distinct as one may suppose.
If advertisements are designed to evoke or inculcate certain American mythologies, then it makes sense that successful television shows would function in a similar fashion. Himmelstein examines a number of programs as “case studies” of various programming types, from Suburban--Middle-Landscape Comedy (Leave it to Beaver) and “The Self-Reflexive Comedy-Drama: Television Topicality and the Class Struggle” (All In the Family) to “Television News” and “The TV Talk Show.’ For each of these types, Himmelstein takes paradigmatic examples and deconstructs them to expose the myths that govern them. In one such example, the first episode of Leave It to Beaver (1957), Himmelstein shows that the program deliberately reinforces such values as the invulnerability of the adult and the authority of institutions, values Himmelstein codes as American mythologies. Himmelstein employs a similar “test case” strategy for the other program categories he explores in the book.
In his conclusion, Himmelstein suggests that through an awareness of these mythologies, it is possible for one to cultivate a critical stance with regard to the medium of television: “The critical viewer who sees ‘the fraudulence of a proposition in advertising,’ or the controlling myth of eternal progress in prime-time soap opera, or the over importance attached to the heroic splendid performer--whether athlete, politician, or electronic preacher--is not likely to buy that product or complacently stand outside the centers of capitalist power as the correct ideological positions are circumscribed for him or her.” (386) It is this push toward a greater media literacy that is perhaps the greatest value of Himmelsteins book – it helps one develop a vocabulary for identifying and negotiating the structural myths present in contemporary American television.
--Steve Belletto family entertainment celebrity nationalism entertainment, home advertising, and public relations television, and values propaganda public relations values preservation home entertainment history, and new media celebrity culture home, and new media home Belletto, Steve television nationalism and communication nationalism, and television nationalism, and myth television, and nationalism television, and myth myth, and television myth, and nationalism celebrity culture, and television television, and celebrity history, and television television, and history home, and television family, and television values, and television television, and family television, and home Barthes, Roland advertising advertising, and television television, and advertising values history news and journalism myth Himmelstein, Hal Television Myth and the American Mind 2580 Hincha, Richard Selling CinemaScope: 1953-1956 Velvet Light Trap
Summer 1985
21 44-53 See filed under Velvet Light Trap. advertising, and public relations widescreen propaganda public relations motion pictures motion pictures and popular culture motion pictures, and widescreen widescreen, and motion pictures advertising, and motion pictures motion pictures, and advertising CinemaScope advertising Hincha, Richard Selling CinemaScope: 1953-1956 33460 Hindman, Matthew Scott Voice, Equality, and the Internet Princeton, NJ Princeton University
2005
This interesting thesis questions the democratic nature of the Internet and suggests that some website are favored over other by search engines. The author's background combines political science, computer science, and physics. computers computers and the Internet democracy democracy, and Internet Internet, and democracy Internet Hindman, Matthew Scott Voice, Equality, and the Internet 25020 Hinson, Hal Bestial Brew: 'The Cook,' Serving Up Squalor Washington Post
April 7, 1990
C 1C This review of the movie The Cook, the Thief, His Wife and Her Lover (1990) in the Washington Post called the picture “a metaphor so grand, so lavishly comprehensive, that it can stand as a final, definitive assessment of the state of Western civilization.” Hinson said the X rating given to The Cook made British director Peter Greenaway and Miramax Films seem heroic. motion pictures motion pictures and popular culture motion pictures, and reviews Hinson, Hal, and The Cook... Hinson, Hal Bestial Brew: 'The Cook,' Serving Up Squalor 25380 Hinson, Hal Film Industry Revises Rating System; Controversial X Movie Category Abandoned to Avoid "Stigma" Washington Post
Sept. 27, 1990
A 1A The Motion Picture Association of America and National Association of Theater Owners announced on September 26 that the X category would be dropped in favor of the NC-17 rating (no children under 17 allowed). The expectation – or at least the hope – was that the new rating would remove the stigma of pornography from serious adult pictures. Valenti was not so certain. “I expect criticism to continue,” he speculated. “I do know, however, that what I’m doing is in the long-range best interests of an enduring and useful ratings system.” Universal's picture Henry and June (1990) became the first film to carry the NC-17 rating. music Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA audiences self-regulation corporations motion pictures, and sexuality sexuality sexuality motion pictures, and sexuality corporations corporations homosexuality Classification and Rating Administration (CARA) theaters MCA Universal Pictures theater owners censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures Music Corporation of America (MCA) law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture Wasserman, Lew CARA Heffner, Richard Valenti, Jack Valenti, Jack, and NC-17 NC-17 rating system (U. S.), and NC-17 movie, Henry and June motion pictures, and sex motion pictures, and sex lesbianism motion pictures, and lesbianism motion pictures, and homosexuality motion pictures, and homosexuality homosexuality CARA, and rating controversies rating system (U. S.), and controversies Wasserman, Lew, and NC-17 Universal Pictures, and NC-17 Miller, Henry Kaufman, Philip MCA, and NC-17 MCA, and Cineplex Odeon theater chain theater owners, and NC-17 NC-17, and theater owners Pollock, Tom, and Universal Universal Pictures, and Tom Pollock Pollock, Tom, and NC-17 Kaufman, Philip, and Henry and June Heffner, Richard, and NC-17 Heffner, Richard, and Henry and June Heffner, Richard, and rating system (U. S.) NC-17 NC-17, and origins Hinson, Hal Film Industry Revises Rating System; Controversial X Movie Category Abandoned to Avoid "Stigma" 30540 Hirschfeld, Gerald The Challenges of Filming Commercials for Color TV American Cinematographer
Nov., 1967
48 11 792-93, 826-28 This article notes that while most TV sets are still in black-and-white, that color television is the wave of the future. "Though often difficult and demanding, color TV commercials offer the cinematographer many opportunities for creative expression." (792) television advertising and public relations color 16mm color, and television television, and color advertising, and color color, and advertising 16mm, and color color, and 16mm television, and 16mm 16mm, and television cinematography advertising motion pictures Hirschfeld, Gerald The Challenges of Filming Commercials for Color TV 29660 Hirsh, Richard F. Technology and Transformation in the American Electric Utility Industry London and New York Cambridge University Press
1989
Richard F. Hirsh “deals with technological stagnation and how it contributes to industrial decline.” His subject is the electric utility industry and its problems. He maintains “that a long and successful history of managing a conventional technology set the stage for the industry’s deterioration in the late 1960s and 1970s. After improving steadily for decades, the technology that brought unequalled productivity growth to the industry appeared to stall, making it impossible to mitigate the difficult economic and regulatory assaults of the 1970s. Unfortunately, most managers did not recognize (or did not want to believe) the severity of technological problems, and they dealt instead with financial and public relations issues that appeared more controllable. Partly as a result, the industry found itself in the 1980s challenged by the prospects of deregulation.” (ix)
This book is aimed at historians, readers who wish to learn more about the history of business strategy, and people involved in business management.
The text of this work runs 198 pages followed by a six-page “Bibliographic Note” section, and substantial endnotes (205-66). technology corporations corporations corporations electricity technology and society technology and values values, and technology capitalism industrial revolution networks, electrical Edison, Thomas electric utilities regulation, and electricity Insull, Samuel electricity, and nuclear power progress, and technology technology, and progress Westinghouse Electric Company regulation networks progress values Hirsh, Richard F. Technology and Transformation in the American Electric Utility Industry 4940 Hirsh, Richard F. and Adam H. Serchuk Momentum Shifts in the American Electric Utility System: Catastrophic Change -- or No Change at All? Stephen H. Cutliffe and Terry S. Reynolds, eds. Technology & American History: A Historical Anthology from Technology & Culture Chicago University of Chicago Press
1997
413-44 The authors observe that “electric utility executives and several business analysts claim that the American electric utility system began to change in the 1970s. They argue that the system, which binds together massive turbines, transmission lines, nuclear reactors, human decision makers, millions of customers, and countless other components, has somehow been transformed, even though its physical nature remains much the same.” While Hirsh and Serchuk acknowledge that major changes were underway and that permanent restructuring had occurred, they see these changes up though the early 1990s as largely “conservative..., intended to maintain vital aspects of the current system, rather than as a radical deconstruction of the way the nation supplies, distributes, and consumes electricity.” technology preservation history, and new media history networks history electricity public utilities networks, electrical technology and society history, break with electricity, and history of Hirsh, Richard F. and Adam H. Serchuk Momentum Shifts in the American Electric Utility System: Catastrophic Change -- or No Change at All? 3840 Hitchcock, Henry H. and Thomas F. Jaras The Impact of the Atlantic Cable on Diplomacy: Implications for Forecasting Joel A. Tarr, ed. Retrospective Technology Assessment -- 1976 San Francisco San Francisco Press, Inc.
1977
107-30 The authors note that the Atlantic cable "was important in defusing crisis situations. It was often used to dispel rumors, defuse potentially dangerous situations, and control the execution of policy overseas. Nevertheless, rapid communications promoted almost continuous crisis situations at the seats of government by virtue of capability to communicate as events developed.
"The most accurate forecasts were made by the seasoned British diplomats, who were well aware of how foreign policy evolved.....
"The least accurate forecasts were made in the U.S. Congress and at the celebrations of the cable's success...."
This essay came out of a conference held at Seven Springs Moutain Resort, Champion, PA, Dec. 1-4, 1976. technology R & D nationalism time and timekeeping time technology and society research and development war journalism future and science fiction news and journalism war non-USA news telegraph military communication nationalism and communication cable, transatlantic cable, and diplomacy time news, and transatlantic cable cable, as cause of crisis reporting news, and crisis reporting future technology assessment forecasting Great Britain cable news, and telegraph cable, Atlantic Hitchcock, Henry H. and Thomas F. Jaras The Impact of the Atlantic Cable on Diplomacy: Implications for Forecasting 35100 Hixson, Walter L. Parting the Curtain: Propaganda, Culture, and the Cold War, 1945-1961 New York St. Martin's Press
1997
Hixson notes that during the late 1950s, many Hollywood executives were not enthusiastic about trying to send more movies to the Soviet Union, doubting that they would make any profits. Eric Johnston, president of the MPAA, explained to the White House that the producers might be more enthusiastic if they were told that what they were doing was "an important contribution to American policy." (155) On Jan. 29, 1958, the State Department announced that Johnston would lead the movie industry in negotiating "the sale and purchase of U. S. and Soviet theatrical motion pictures." (155) The USSR agreed to begin exhibiting ten U. S. pictures including Roman Holiday, The Old Man and the Sea, and Oklahoma, while the U. S. agreed to market seven Soviet movies including The Idiot, Don Quixote, and Swan Lake. (155) Motion Picture Association of America (MPAA) nationalism Eisenhower administration community addresses motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Johnston, Eric, and Production Code democracy democracy, and capitalism capitalism, and democracy nationalism and communication motion pictures and nationalism presidents and new media Eisenhower, Dwight D. motion pictures, and Dwight Eisenhower Eisenhower, Dwight D., and motion pictures capitalism Cold War freedom MPAA war advertising and public relations values Hixson, Walter L. Parting the Curtain: Propaganda, Culture, and the Cold War, 1945-1961 650 Hobart, Michael E. and Zachary S. Schiffman Information Ages: Literacy, Numeracy, and the Computer Revolution Baltimore The Johns Hopkins University Press
1998
The authors write: “The complex interactions of technology and culture have produced three distinctive information ages: classical, modern, contemporary. In the classical age we shall explore how the rise of literacy, culminating in its alphabetic form, enabled the classifying potential in natural language to emerge in symbiotic evolution with the technology of writing. The result was a twin birth: of information itself and of the first information age....
“In the modern age, commencing with the rise of printing during the Renaissance, typographic literacy did not so much spur the emergence of a new mentality as overwhelm the old one. The surfeit of books and information generated by the print revolution contributed directly to the overburdening and rupture of traditional forms of classification. In turn, this rupture helped clear the way for new, more abstract means of managing information. These means, which we shall designate collectively as ‘the analytical vision of knowledge,’ derived from the technology of numeracy, from the newly emerging, symbolic language of mathematics. The modern information age culminated in the eighteenth century with the first of the great modern encyclopedias....
“Our contemporary information age also has its roots in numeracy. But in the nineteenth century, the mathematical imagination soared into abstract universes far beyond the fantasies of the early theorists who had first devised the idiom. The analytical vision became increasingly attenuated from the material world it purported to map, until the tie finally snapped. Torn from its philosophical foundations, analysis became pure technique, the manipulation of arbitrarily designated symbols according to fixed, logical rules. The pure technique of analysis has fabricated a new home for itself in the electronic circuits of the digital computer, engendering our contemporary information technology and idiom. These, in turn, have fostered a new form of knowing based on the idea of emergence, which describes how certain complex, natural systems continually adapt themselves to their environment. Unlike the analytical vision, this new form of knowing is expansive rather than reductive and open-ended rather than closed. At its heart lie the twin principles of electronic computing, ‘power’ and ‘play,’ which define our contemporary information age just as surely as wisdom and knowledge did its predecessors.”
This work ends with an informative bibliographic essay. mathemathics computers print preservation communication revolution history, and new media digitization history history general studies information age communication revolution literacy alphabet writing printing history, break with numeracy digital media electronic media computers computers and the Internet computers, and numeracy mathematics, and communication communication, and mathematics information v. knowledge Hobart, Michael E. and Zachary S. Schiffman Information Ages: Literacy, Numeracy, and the Computer Revolution 6920 Hobbs, Vicki M. Virtual Classrooms: Educational Opportunity through Interactive Television Lancaster, PA Technomic Publishing
1997
education community democracy television distance education television, and education television, interactive democracy and media education, and television education, and new media Hobbs, Vicki M. Virtual Classrooms: Educational Opportunity through Interactive Television 30630 Hoberman, J. The Dream Life: Movies, Media and the Mythology of the Sixties New York and London The New Press
2003
This book grew out of a course the author taught at New York University's Department of Cinema Studies. Hoberman writes: "I first read Siegfried Kracauer's From Caligari to Hitler in the late 1960s as an undergraduate at the State University of New York in Binghamton. Then, I imagined writing something that would be called From Strangelove to Wallace or Reagan or Worse -- and I imagine The Dream Life is a belated version of that." (viii) The text of this work runs 409 pages and discusses several films from the 1960s and early 1970s. A section called "Source Notes" (410-33) is used instead of the more traditional endnotes. Johnson, Lyndon motion pictures motion pictures, and politics Johnson, Lyndon Johnson, Lyndon, and motion pictures motion pictures, and Lyndon Johnson presidents and new media Nixon, Richard Nixon, Richard, and motion pictures motion pictures, and Richard Nixon Kennedy, John F. Kennedy, John F., and motion pictures motion pictures, and John F. Kennedy television television, and motion pictures motion pictures, and television Hoberman, J. The Dream Life: Movies, Media and the Mythology of the Sixties 26750 Hobsbawm, E. J. Revolution is Puritan Philip Nobile, ed. The New Eroticism: Theories, Vogues and Canons New York Random House
1970
36-40 The historian E. J. Hobsbawm argued that there was “no good grounds” for the belief that “permissiveness in public sexual or other personal behavior” led to “social-revolutionary movements,” or that “a narrow sexual morality” was “an essential bulwark of the capitalist system.”This essay appeared at about the same time that the President's Commission on Obscenity and Pornography made recommendations that pornography was not necessarily harmful and that legal restrictions on it should be loosened. Hobsbawm's essay first appeared in the British publication, New Society, a weekly review of social sciences. presidents and new media sexuality Hobsbawm, Eric pornography President's Commission on Obscenity and Pornography (1970) Hobsbawm, E. J., and pornography Hobsbawm, E. J. Revolution is Puritan 30250 Hoch, Winton The Vietnam War as Filmed for 'The Green Berets' American Cinematographer
Sept., 1968
49 9 654-57, 684-85 Hoch was a graduate physicist from the California Institute of Technology and a former three-time Academy Award winner for his photography in such movies as "The Quiet Man," "Joan of Arc," and "She Wore a Yellow Ribbon." In this article he discusses filming the John Wayne movie, "The Green Berets" (1968), about the Vietnam War. He discusses filming battle action scenes using a Panavision camera mounted on a Chapman boom, and filming battles under "artificial moonlight" (656) Hand-held cameras were also used such as the Arriflex. With a 200-foot magazine, it was light enough to give cameramen great mobility, but with the 400-magazine, the added weight posed "a serious handicap." (657) He also notes that "there is no substitute for a zoom lens when you need to move in fast for a really sharp impact. You simply can't do the same thing by dollying. The zoom will sell the point where nothing else will," he said. (684) lenses, zoom media effects motion pictures cameras cameras, portable cameras, portable motion pictures, and portable cameras war war, and portable cameras news and journalism news, and portable cameras cameras, and zoom lenses zoom lenses cinematography war, and zoom lenses zoom lenses, and war lighting lighting, and battle scenes war, and movie lighting cameras, Panavision cameras, hand-held hand-held cameras, and motion pictures movie, Green Berets Green Berets Wayne, John military communication news lenses Vietnam War war Hoch, Winton The Vietnam War as Filmed for 'The Green Berets' 31910 Hoch, Winton C. Winton C. Hoch: An American Film Institute Seminar on His Work New York Times Oral History Program, the American Film Institute Seminars, Part I, No. 82
June 3, 1973
Beverly Hills, CA: Center for Advanced Film Studies, 1977 (microfilm -- Glen Rock, N.J.: Microfilming Corporation of America, 1977) Hoch, a cinematographer, explains how he got started as a color specialist. He was at Caltech and Technicolor hired him as a physicist. He worked for Technicolor for two years on their three-color camera. At the time, Technicolr was "an additive to color processing." (T2A/P50)
From the American Film Institute and American Society of Cinematographers Seminar with Winton C. Hoch. motion pictures cameras cinematography Hoch, Winton motion pictures, and color color color, and motion pictures Technicolor color, and Technicolor Hoch, Winton C. Winton C. Hoch: An American Film Institute Seminar on His Work 4950 Hochfelder, David Electrical Communication, Language, and Self Chris Hables Gray, ed. Technohistory: Using the History of American Technology in Interdisciplinary Research Malabar, FL Krieger Publishing Company
1996
119-39 print nonprint media nonprint culture print culture electricity language print media v. electronic media Hochfelder, David Electrical Communication, Language, and Self 3750 Hodges, David A. Microelectronic Memories Scientific American
Sept. 1977
237 3 130-45 This article deals with efforts to increase digital memory. The author notes that "present memories based on transistors typically store some 16,000 bits (binary digits) on a chip. Magnetic-bubble and charge-coupled devices are providing an even higher density of information storage." Despite intensive research, several promising memory technologies had not yet achieved commercial success in 1977. The author predicts a brighter future, though. "The next decade is likely to bring substantial improvements in the performance of both moving-surface and electronic memories, together with reductions in cost. There are no fundamental barriers to increasing the bit-storage density on moving magnetic surfaces a hundredfold, with little accompanying increase in the price of the system. The anticipated introduction of electron-beam and X-ray techniques in the fabrication of microelectronic circuits should also make it possible to increase the bit density of these devices by a factor of 100, again with only minor increases in price per component. Thus the expectation is that over the next 10 years there will be a reduction of more than an order of magnitude in the price per bit of all forms of digital memory." computers tape recording, magnetic magnetic recording recording tape recording preservation communication revolution second industrial revolution communication revolution archives history, and new media future and science fiction communication revolution, and second industrial revolution tape recorders recording sound recording tape recording computers microelectronics libraries libraries, and information storage Information Age history computers and the Internet history, and digital memory history, and microelectronics revolution information processing information storage sound, and audio cassettes sound digital media microelectronics revolution communication revolution RAM digitization information storage, and digital media future, and information storage future random access memory (RAM) Hodges, David A. Microelectronic Memories 12870 Hoeveler, J. David Jr. The New Humanism: A Critique of Modern America, 1900-1940 Charlottesville University of Virginia Press
1977
This book is a fine intellectual history of several writers during the early twentieth century who were critics of modernism. cultural change modernity cyberspace culture cultural change, early 20th cultural change, and critics modernism, and critics modernism critics Hoeveler, J. David Jr. The New Humanism: A Critique of Modern America, 1900-1940 12880 Hoeveler, J. David Jr. The Postmodernist Turn: American Thought and Culture in the 1970s New York Twayne Publishers
c1996
This work is part of the Twayne American Thought and Culture Series. It offers an introduction to post-modern thought during the 1970s. cultural change cyberspace culture cultural change, and 1970s postmodernism Hoeveler, J. David Jr. The Postmodernist Turn: American Thought and Culture in the 1970s 20520 Hofbauer, Diane L. 'Cableporn' and the First Amendment: Perspectives on Content Regulation of Cable Television Federal Communications Law Journal
Summer, 1983
35 2 139-208 This article discusses legal cases relating to programs with "adult" on cable television. By the early 1980s, cable television, together with satellite TV and video cassettes, had help to change home entertainment. entertainment Federal Communications Commission (FCC) entertainment, home values sexuality values obscenity religion values morality home entertainment First Amendment regulation values community freedom law censorship and ratings censorship home court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures television FCC, and television television, and FCC cable TV, and FCC FCC, and cable TV censorship, and motion pictures motion pictures, and censorship? motion pictures, and freedom motion pictures, and obscenity obscenity, and motion pictures censorship, and community standards community standards, and censorship pornography pornography, and television pornography, and theaters pornography, and community standards, theaters motion pictures, and cable television television, and motion pictures FCC indecency law, and indecency cable television, and indecency indecency, and cable television morality, and cable television pornography, and television television, and pornography home entertainment revolution pornography, and home X-rated films cable television, and First Amendment First Amendment, and cable porn cable television, and pornography pornography, and cable television home, and new media cable Hofbauer, Diane L. 'Cableporn' and the First Amendment: Perspectives on Content Regulation of Cable Television 37910 Hoff, James L. The Era of the Motion Picture The Chautauquan
June 7, 1913
71 1 1-10 This article, written by the then editor of the Moving Picture World, begins by saying that "an 'optical illusion' plus an almost insatiable appetite for amusement on the part of the public is responsible for one of the most remarkable commercial developments of this age -- motion pictures." (1) The author says, though, that cinema is more than a "cheap catch-penny amusement device," (1) and that it offers a powerful tool for educators. The article concludes with a section on "The Educational Picture" (9-10). The article discusses the origins of moving pictures -- whether it was an Englishman named Freese-Green or Thomas Edison -- who deserves the most credit. It explains how the movie camera works ("on the same principle as a kodak" - p. 2) and that it produces an "optical illusion." It also covers the origin of the film projector (4-5). Sections are devoted to "Growth of the Exhibition Business" (6-7) and "The Growth of Picture Making." (7-8) "The amount of marketable film issued by the licensed manufacturers each week approximates 3,000,000 feet" (7) and the anywhere from $5 million to $30 million is invested in the manufacturing of moving pictures. (7) motion pictures education motion pictures, and education education, and motion pictures motion pictures, and projectors projectors, and motion pictures capitalism motion pictures, and capitalism capitalism, and motion pictures motion pictures, and business special effects, and motion pictures motion pictures, and special effects projection special effects Hoff, James L. The Era of the Motion Picture 22480 Hoffman, David Reagan Hears Pleas to Battle Pornography Washington Post
March 29, 1983
A 5A See also: media See also: violence See also: sexuality Following the meeting between President Ronald Reagan and leaders of Morality in Meida, more than 100 Roman Catholic and Eastern Orthodox bishops wrote letters asking for a federal monitor to oversee the enforcement of obscenity laws and to curb what was then a $6 billion pornography industry. The article quotes Reagan saying that his administration had "identified the worst hazardous-waste sites in American -- we have to do the same with the worst sources of pornography." The article also quotes Rev. Morton Hill, the national president of Morality in Media. conservatives Reagan, Ronald presidents, and new media Reagan administration values sexuality sexuality nudity motion pictures religion values morality mass media media effects crime values religion law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography Reagan, Ronald, and nudity nudity, and Ronald Reagan Reagan, Ronald, and pornography Reagan, Ronald, and secular humanism Reagan, Ronald, and liberalism pornography, and evangelicals evangelicals, and pornography religion, and pornography pornography, and religion Reagan, Ronald, and religion Morality in Media critics Hill, Morton, and Morality in Media Hoffman, David Reagan Hears Pleas to Battle Pornography 12930 Hoffman, Frederic John The Twenties: American Writing in the Postwar Decade New York Collier Books
[1962]
1955 This book deals with American literature during the 1920s and considers the clash between Victorian values and modernism. The writers of the 1920s lived in a world that had been radically changed by technology. cultural change values modernity cyberspace culture cultural change, early 20th cultural change, 1920s Victorianism modernism Hoffman, Frederic John The Twenties: American Writing in the Postwar Decade 12920 Hoffman, Frederick John The Modern Novel in America Chicago Regnery
[c1963]
1951 This examination of modern American literature considers the clash between Victorianism and modernism. American writers during the late nineteenth and early twentieth centuries lived in a world that had been transformed by technology. cultural change values modernity cyberspace culture cultural change, early 20th Victorianism modernism Hoffman, Frederick John The Modern Novel in America 33230 Hofstadter, Richard Anti-Intellectualism in American Life New York Afred A. Knopf
1963
Anti-Intellectualism in American Life examines the place of intellect in American society throughout history. Hofstadter is particularly interested in the democratization of education and the tension between excellence and access. Hofstadter argues that anti-intellectualism were consequences of the democratization of education in the United States, particularly vocational and Progressive education during the early twentieth century. Hofstadter argues that educational institutions have undercut themselves by becoming vocational; they are not inculcating a love of learning and an appreciation for academic subjects and life. If schools are not inculcating respect for academic values then fat chance of it happening through other means.
Moreover, he saw anti-intellectualism as being part of American history due, in large part, to the primacy of evangelical Protestant groups. Evangelicals favored emotion and saving souls rather than theological musings and reason. Business also played a role in the anti-intellectual attitudes of Americans. The vast resources of America called for men with practical and/or technical skills. Many business leaders accomplished their success without formal education which also helped devalue it in the eyes of the public.
While Hofstadter points out the long tradition of anti-intellectualism in American life, he also notes the periods of history when intellectuals were held in high regard, namely Revolutionary America and the Progressive era. Men like Woodrow Wilson and Theodore Roosevelt were able to rise the pinnacle of American politics despite being intellectuals, which provides hope for the future of American culture.
While it is important to remember that Hofstadter wrote Anti-Intellectualism in American Life in the wake of McCarthyism, he surprisingly deals very little with the Red Scare, instead focusing on earlier portions of American history. Hofstadter does a reasonably good job of comparing American attitudes to those held by Europeans. However a discrete section devoted to that might be preferable to having comparisons sprinkled throughout the work.
--Ryder Kouba Kouba, Ryder education values religion democracy anti-intellectualism education, and anti-intellectualism democracy, and anti-intellectualism religion, and anti-intellectualism values, and anti-intellectualism Darwinism, and anti-intellectualism Byran, William Jennings censorship and ratings censorship, and anti-intellectualism anti-intellectualism, and censorship anti-intellectualism, and education anti-intellectualism, and values anti-intellectualism, and religion anti-intellectualism, democracy anti-intellectualism, and science censorship Darwin, Charles Hofstadter, Richard Anti-Intellectualism in American Life 11630 Hogben, Lancelot From Cave Painting to Comic Strip: A Kaleidoscope of Human Communication New York Chanticleer Press
1949
The author describes this work as “a panorama of the emergence of man as the only literate animal species and a preview to the liquidation of illiteracy on a world scale as a prelude to the unification of mankind.” The book is nicely illustrated (the author also describes his work as “a picture-book about picture-making”), both in black-and-white and in three-color photogravure. The book is particularly informative about the coming of paper and the development of different kinds of printing presses. Early chapters deal with the development of calendars and the alphabet. Subsequent chapters are entitled: “Printing, Paper and Playing Cards,” “Standardisation, Stereotype and Isotype,” “Art, Anatomy and Advertisement,” “Back to Comenius from the Comics,” “Serving Time, Saving Time and Showing Time,” and “The Internationlisation of Free Speech.” illustrations Asia photography advertising, and public relations time and timekeeping propaganda public relations print geography timekeeping, and clocks non-USA photography and visual communication printing press paper timekeeping cartoons comic books advertising alphabet writing calendars color cartography linotype stereotyping duplicating technologies literacy photography, and history of printing printing, and block printing, and Korea Korea printing, and China China China, and printing Korea, and printing photography, and color color, and photography sound writing writing, sound presses presses, linotype presses, rotary illustrations materials sound recording Hogben, Lancelot From Cave Painting to Comic Strip: A Kaleidoscope of Human Communication 2810 Hogg, Peter W. Constitutional Jurisdiction Over Violence in the Mass Media Industries Report of The Royal Commission on Violence in the Communications Industry: Volume 7: The Media Industries: From Here to Where? Toronto, Ontario Royal Commission on Violence in the Communications Industry
[1977]
299-325 See also: violence See also: sexuality In Canada, American movies and television programs dominated the market – more than 90 percent of the films for which Canadian paid rental fees came from the United States. In 1977, Ontario’s Commission on Violence in the Communications Industry concluded that the “great weight of research into the effects of violent media contents indicates potential harm to society.” In Volume 1, this Report concluded that Canadians – including children – were watching increasing amounts of American-made TV which had “much higher levels of violence” than programs produced in Canada or elsewhere, and television’s “escalation of violence” was “drawing other sections of the media along like the tail of a comet.”
This essay appears in Volume 7 of the Royal Commission's Report. It discusses the British North America Act and legal restrictions on mass media. syntheses (of research) video cassette recorders (VCRs) microprocessing magnetic recording television, and media effects Surgeon General social science research fiber optics optical fibers news and journalism news microprocessors media effects media violence media effects news and journalism satellites materials video games VCRs magnetic tape materials future and science fiction fiber optics censorship and ratings children law news and journalism non-USA Canada television violence television, and violence violence, and television violence, and social science research social science research, and violence children, and media motion pictures and popular culture motion pictures motion pictures, and television television, and motion pictures Surgeon General's Report (1972) violence children, and TV violence media effects, and television violence, and media effects, and violence violence, and media effects social science research, and TV violence television, and social science television, and violence violence, and television media effects, and television children, and media children, and TV violence social science research, synthesis (violence) Canada, and media violence journalism, and Canada journalism journalism, and violence news, and Canada news, and violence bibliographies, annotated bibliographies, and journalism and violence journalism, and violence (bibliography) video games, and Canada video games, and violence violence, and video games cable, and Canada VCRs, and Canada optical fibers, and Canada satellites, and Canada aeronautics and space communication violence, and new media future, and Canada future, and new media microprocessors, and violence law, and Canada law, and media violence law, and new media British North America Act future bibliographies cable Hogg, Peter W. Constitutional Jurisdiction Over Violence in the Mass Media Industries 39820 Holden, Florence P. Audiences: A Few Suggestions to Those Who Look and Listen Chicago A. C. McClurg and Company
1896
The purpose of this book, the author says, is to make readers better viewers and listeners. "The thoughts all cluster about the two words 'seeing' and 'hearing.'" (v) The goal is to make judgments, "To know what pictures are good, what are bad; what music is good, what demoralizing; which statues and buildings to approve; what poetry to hold to, -- these are accomplishments which mark the man or the woman of culture." (vi)
After an opening chapter about "Audiences," are devoted to architecture, sculpture, painting, etching, poetry, music, criticism, and applause, with related chapters on such themes as "The Language of Form,"The Language of Action," "The Language of Line," "The Language of Color," "The Language of Word," "The Language of Tone."
In the chapter "The Language of Color," Holden writes that "Color is assuredly, if considered by itself, a very subtle language, yet it is none the less definite." (65) She goes on to say that "Form without color has its distinct province of power, as is seen in architecture and sculpture. Crude color the ancients added to form, but in a subordinate way, the end being decoration, which is for from being the highest use of color." (66) She notes that for contemporary artists in 1896, "color is growing to be a more simple language, and the keynote of their theme is that 'The sun paints true.'" (67) She writes that "Cabalistic, myterious meanings have always hovered about certain colors...." (69) However, the "three primary colors have among most nations had simple meanings, intimately connected with man and his surroundings. Red -- the color of blood, of life -- has always had an intensely human meaning. 'Red for love,' the old song says. It carries with it an element of emotion, of passion. Blue is the color of the sky, impenetrable. Men's 69/70 heads have always somehow been among the stars. Mentality is cold and apparently boundless....'blue is cold; it is an intellectual color, the color of mind.' The yellow, the flame-color. Among all peoples, legends and myths cluster about the gift of fire to man; but more can be read in the Promethean legend than the physical power of fire.... It makes for itself a Pentecost. The Christian use of the color in church decorations at Eastertide is thus explained." (69-70) Holden also observes that "Combinations of tones are tolerated today which would have been harshest discord to the ears of the last century, - nay, even were to Wagner's early critics. In color the same thing is true." (71)
Holden says that painters must use color in different ways. "Far more is expected of color to-day than every before. The time is fast going when a painter can satisfy his audience by daubing the invariable dark brown into his shadows, as if he were working in black and white...." (90) emotion decadence color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry values values, and color color, and values color, and decadence decadence, and color media literacy color, and audiences audiences, and color audiences media effects media effects, and color color, and media effects color, and red color, and blue color, and yellow Holden, Florence P. Audiences: A Few Suggestions to Those Who Look and Listen 39110 Holden, Florence P. The Language of Color Current Literature
Jan. 1897
21 1 58 Holden writes that "'Color is assuredly, if considered by itself, a very subtle language, yet is is none the less definite....
"'Eyes are not enough to interpret the Language of Color. True, impressions of color come to the brain through the sense of sight, but he who runs may not always read, for the language of color, though definite, has a subtlety of meaning to the colorist which is rich-in suggestiveness. As far as the understanding of this language goes, thousands of people might as well be born color-blind, for all the profit they derive from the use of their eyes." For contemporary artists, "'their theme is that "The sun paints true."'" The author notes that "the church has formulated color, though by an unwritten law, into a language full of symbolic meaning...." Holden discusses the three primary color and what they represent -- red equals emotion and passion; blue "is the color of the sky, impenetrable" and often reflects the intellectual and cold; yellow equals fire.
This article apparently offers excerpts from Holden's book Audiences: A Few Suggestions to Those Who Look and Listen (Chicago: A.C. McClurg and Company, 1896). religion religion, and color media effects emotion color, in literature color, and research on color color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and poetry color, and religion religion, and color values color, and values values, and color Holden, Florence P. The Language of Color 37940 Holland, W. Bob The Passion for Publicity: Being an Account of the Ingenious Arts of the Press Agent Leslie's Monthly Magazine
Oct. 1904
58 6 614-20 This article discusses how theatrical press agents supply stories, some of which are exaggerated or faked, to newspapers to gain publicity. "It is the duty of the press agent to know the man or men on each of these half hundred publications who can 'put a piece' in his paper, and then it is his duty to see that 'the piece' is printed. As each of the fifty theaters has a press agent the struggle is spirited and the man who can furnish the best 'stories' or who makes himself most popular with the dramatic editors is the one who obtains the most publicity for his theater or star." (615) Newspapermen are usually in on this deception or practice. An example is given on how a minstrel dressed as a black and another actor impersonating President Theodore Roosevelt made a fictional film of the president help the negro into a carriage. When TR protested and the film was destroyed, those involved in the deception nevertheless gain great notoriety. (616) public relations press agents celebrity celebrity culture actors acting actors acting advertising and public relations advertising, and stage stage, and advertising stage, and public relations public relations, and stage actors, and public relations public relations, and actors press agents, and actors actors, and press agents press agents, and celebrity culture celebrity culture celebrity, and press agents news and journalism press agents, and journalism journalism, and press agents press agents, and newspapers newspapers, and press agents magazines, and press agents press agents, and magazines press agents, and journalism journalism, and press agents press agents, and newspapers newspapers, and press agents magazines, and press agents press agents, and magazines advertising journalism magazines press stage Holland, W. Bob The Passion for Publicity: Being an Account of the Ingenious Arts of the Press Agent 8890 Hollenback, David Arthur Contributions of Charles Francis Jenkins to the Early Development of Television in the United States University of Michigan
1983
A Ph. D. thesis. Abstract from Digital Dissertation (UMI ProQuest):
“The purpose of this study was to describe the contributions of Charles Francis Jenkins to the early development of television in the United States. Jenkins fostered this development through his work as a promoter for the advancement of television technology, as an inventor of early television devices, and as a pioneer in the area of television broadcasting. Jenkins played a key role in the development of the motion picture projector from 1893 to 1896. He postulated a crude television system in 1894, and he renewed his interest in television in 1913. In 1916, Jenkins founded the Society of Motion Picture Engineers which later, in 1950, became the Society of Motion Picture and Television Engineers (S.M.P.T.E.). The early meetings of this organization served as arenas for the exchange of ideas among scientists and engineers concerned with the problems of television as well as motion pictures. Today, the S.M.P.T.E. continues as a powerful force for the advancement and standardization of motion picture and television technology. Jenkins opened the Jenkins Laboratories in 1921 and concentrated on developing a television system. In 1923, he achieved the first demonstration of mechanical television in the United States. In 1925, he accomplished the first wireless transmission of a moving picture with a device he later developed into a complete television system. Jenkins received the first license for television broadcasting in 1927. His station, W3XK, went on the air with silhouette movies and became part of the Jenkins Television Corporation in 1928. This company manufactured cabinet and kit television receivers, started station W2XCR, and later experimented with sound movie transmissions. The Jenkins Television Corporation was absorbed by the DeForest Radio Company in 1930 and bought by the Radio Corporation of America in 1933. Jenkins died June 6, 1934. This study examines the life, inventions, prolific writings, and early activities of Charles Francis Jenkins, establishing this long neglected innovator as one of our most forceful and important television pioneers.” Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories television, and history of television Jenkins, Charles Francis television, and origins biography Hollenback, David Arthur Contributions of Charles Francis Jenkins to the Early Development of Television in the United States 37870 Holliday, Carl The Motion Picture and the Church The Independent
Feb. 13, 1913
74 3350 353-56 This article paraphrases a pastor, Asbury E. Krom, who led "one of the most conservative churches in America" and who brought a moving picture projector into Sunday School as saying that motion pictures are "one of the greatest agencies for good the world had ever seen." (354) Holliday says that "it is the very ability of cinematography to expose injustice, cruelty, and suffering in all their naked ugliness that has impressed the clergymen and church workers with the 353/354 importance of this marvelous invention of the last decade. In the teaching of the young and of the morally deficient, therefore, it is destined to hold a larger placed than many people realize. Thus, when we find two such widely different institutions as the State Penitentiary at Olympia, Washington, and the Episcopal Sunday School at Bristol, Tennessee, using the pictures for the same purposes -- the impressing of the lessons of decency, health, industry, honesty, and love -- we may wisely conclude that here is a weapon against evil more versatile than any other yet discovered by man. The love of the drama is instinctive in the human race; the savages of Africa and Australia perform crude plays and imitations of hunting and war; civilized America spends more than three hundred million dollars annually for its more finished tragedies and comedies...." (353-54) (my emphasis)
The author argues that movies have a more powerful effect on the young than does the printed word. Whereas a book may treat such subjects they might "simply disgust or irritate the average boy; but when he sees the actual deed and rewarding going on before his very eyes, the effect is different; he cannot escape the impression that here is actual life and that right-doing is an admirable thing." (353)
One positive impact of the movies, Holliday says, is that it is causing a decline the saloon business. Movie theaters are ruining the liquor business and there is a "bitter battle now waging between the motion picture and the grog-shop, a battle in which the liquor dealers are undoubtedly losing." (355) The author says that movies should not be done away with any more than public libraries which may carry some books that might move "nervous youngsters to unfortunate imitation." (355)
The motion picture "is simply a powerful auxiliary for the machinery already existing and a new attractive force in the hands of a moral worker," Holliday contends. (356) He then gives examples of churches in different cities that are putting movies to good moral purpose. "Even the Pope has consented to appear in the moving pictures, and his image may now be seen by thousands of devout Catholics who never dared to hope for such a privilege.... Here, then, is a movement that cannot be ignored by the progressive church." (356)
Holliday concludes by sayings that "This new form is entering silently but effectively into the character of public education and modern life, and no student of the American social conditions as they really are can afford to be ignorant of its power or ignore its potentialities in economic, social, intellectual and moral uplife." (356)
The subtitle of this article reads: "What the Churches Are Doing and Hope to Do with This New Educational Agency." Holliday is identified as the author of several books on southern literature in the United States and a recent head of the English Department at Vanderbilt University. children censorship words vs. images images vs. words motion pictures children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings motion pictures, and liquor business critics critics, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing values values, and motion pictures motion pictures, and values motion pictures, and morality religion religion, and motion pictures motion pictures, and religion education motion pictures, and education education, and motion pictures motion pictures, and new art form images vs. print motion pictures, and libraries Holliday, Carl The Motion Picture and the Church 7830 Hollingdal, S. H. and G. C. Tootill Electronic Computers Baltimore Penguin Books
1965
This interesting work offers insight into how people viewed computers during the mid-1960s. The authors note that already 10,000 computers have been made and have “become accepted as an indispensable tool in scientific research....” Chapter 2 deals with the history of computing and is entitled “From the abacus to the desk calculator.” Chapter 3 has a pretty good survey of “The pioneers of automatic computing.” Chapter 5 discusses “Analog computers.” Chapters 6-11 then deal with digital computers. The final chapter, number 13, discusses “Future computers” and tries to anticipate what was to come. Hollingdal and Tootill write: “The word miniaturization was coined about twenty years ago to describe the process of reducing the size of the early radar equipment. If the reader dislikes this piece of jargon, let us warn him now; worse is to follow. The advent of transistors and printed wiring about ten years later allowed a spectacular advance in miniaturization....” The first two chapters on the history of computing are fine, and the last chapter is useful, too. The remaining chapters tend to be more technical, although still aimed at the general reader. computers transistors, and integrated circuits materials materials future and science fiction computers and the Internet electronic media computers, analog analog media digital media future miniaturization transistors radar computers, history of computing, before computers computers calculating machines digital v. analog digitization Hollingdal, S. H. and G. C. Tootill Electronic Computers 30290 Holm, Wilton R. Communications Technology of the Future American Cinematographer
May, 1969
50 5 467-68, 492 The author was Executive Director of the Motion Picture and Television Research Center. He speculates that the currently technological revolution will continue but warns about how tenuous predicting the future can be -- he quotes from a 1955 book that says that motion picture film will be replaced by videotape and film cameras will be superseded by electronic TV cameras. The old technologies continue to thrive, he notes in 1969. Of interest is the section in which he notes new technologies that did not exist in 1937: 1) TV -- in 1969 55 million homes had TV. 2) Electronic computers. 3) Jet travel. 4) Synthetic fibers were largely in an experimental stage. 5) Dial telephones. 6) Transistors -- the vacuum tube "was the marvel of the electrical age." (492) 7) Space travel -- it was a radical idea often associated with Jules Verne. 8) Nuclear energy. computers cinematography motion pictures future and science fiction motion pictures, and future vacuum tubes videotape television telephones computers and the Internet computers, electronic aeronautics and space communication future magnetic tape magnetic recording computers Holm, Wilton R. Communications Technology of the Future 28740 Holson, Laura M. Studios Are Killing (Bloodily but Carefully) for an R Rating New York Times
Oct. 21, 2003
B (TheArts) B1, B5 This article deals with rating violence in such then recently released movies as the remake of The Texas Chainsaw Massacre, and Quetin Tarantino's Kill Bill: Vol. 1. Nick Browne, a professor of critical studies at the University of California, is quoted saying "It's bad language and graphic nudity" rather than violence that gets the R and NC-17 ratings. Jack Valenti plays down the violence in Kill Bill. "I think even an impressionable child would go in and say they've seen worse on Wile E. Coyote," Valenti says. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA self-regulation rating system (U.S.) CARA Classification and Rating Administration (CARA) children violence motion pictures and popular culture motion pictures, and violence violence, and motion pictures media effects, and movie violence rating controversies Tarantino, Quentin, and violence Texas Chainsaw Massacre (2003) Kill Bill: Vol. 1 (2003) censorship and ratings television violence, and television television, and violence Valenti, Jack violence, and Jack Valenti Valenti, Jack, and violence media effects CARA CARA, and rating controversies motion pictures children, and media Holson, Laura M. Studios Are Killing (Bloodily but Carefully) for an R Rating 28650 Holson, Laura M. Studios Moving To Block Piracy of Films Online New York Times
Sept. 25, 2003
A, C A1, C6 This article discusses efforts by the movie industry to combat piracy of movies over the Internet. Analysts estimated that 500,000 copies of movies are swapped each day. Lawsuits against violators is one strategy being used. entertainment computers projection entertainment, home law motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies photography and visual communication photography, and digital movies digital technology digial movies, how they work 35mm film 35mm film, and digital movies digital movies, and 35mm film projectors, digital projectors, and digital movies computers and the Internet computers, and digital movies digital movies, and computers virtual reality virtual reality, and digital movies digital movies, and virtual reality Hollywood, and digital movies digital movies, and Hollywood motion pictures and popular culture motion pictures, and piracy copyright, and motion pictures copyright piracy, and motion pictures law, and piracy law, and copyright law, and motion pictures digital media digital cinema home entertainment Hollywood motion pictures home photography piracy 35mm computers Holson, Laura M. Studios Moving To Block Piracy of Films Online 4030 Holzmann, Gerald J. and Björn Pehrson The Early History of Data Networks Los Alamitos, CA IEEE Computer Society Press
1995
This book examines precursors to the telegraph, focusing mostly on two different optical telegraph systems that were employed in Europe for the half-century prior to the development of the electrical telegraph. Holzmann and Pehrson wrote this book in part to commemorate the bicentennial of the initial deployment of an optical telegraph system in Sweden in 1794. Before the eighteenth century had expired, several European nations, most notably France and Sweden, had fully operational communication systems in place.
Holzmann and Pehrson begin with a historical overview of large-scale information communication systems. Tracing the idea of a communication network back into antiquity, the authors discuss the rather wide variety of beacons, torch or fire, mirror, flag and other relay networks and messenger and rider systems mentioned in ancient and medieval texts. Fire beacons are mentioned in Homer’s Illiad, the books of Isaiah and Jeremiah and by Herodotus and Thucydides; a torch or lantern signal is used by Patriots in 1775 to warn citizens of the approach of the British—“one if by land, two if by sea.” There are dozens of such visual systems.
The authors devote a substantial chapter to the optical telegraph of Claude Chappe. Chappe attempted several different systems, including the use of large panels, and shutters, before settling on a semaphore telegraph, which he successfully tested with the aid of two brothers in 1793. Less than a year after his test, the first line, from Paris to Lille was opened. Telegraph stations were built about six miles apart, usually on hills or in clearings. The semaphore itself, called the regulator, was about fifteen meters in size, allowing for relatively easy visibility between stations. A code for letters and numbers allowed for the transmission of words and sentences. By 1805, the year of Chappe’s death, a network of stations had been established throughout much of France. A letter or number could be transmitted from Paris to Toulon, separated by 475 miles, in about 12 minutes. This network continued to grow, so that by 1846 all the major French cities were linked, and lines were extended into Italy, Spain, Belgium, the Netherlands and the western German states.
The authors devote another substantial chapter to Abraham N. Edelcranz, the designer and builder of the optical telegraph system in Sweden. Upon hearing of Chappe’s experiments in France, Edelcranz began experiments on a system of his own design, a ten-shutter device which also employed relay stations stretched out across the countryside. By the middle of 1795 Edelcranz had a system in operation from Stockholm to Vaxholm, a distance of about thirty five miles. Over the course of the next two decades, the system was expanded so that it covered most of southern Sweden and was employed by the military during Sweden’s war with Russia in 1808. Edelcranz died in 1821, but his system remained in operation well into the 1860s, existing side-by-side with electrical telegraphs, serving to link areas where the wires of the electrical system could not be laid.
The remainder of this book consists of a number of translated documents, including Edelcranz’s 1796 treatise on telegraphs, which contains both theory and Edelcranz’s design for the Swedish system, and some of the initial letters written to Gentleman’s Magazine in 1794. There is also a chapter on the protocols and procedures used by optical telegraph operators, including a rather lengthy list of penalties and punishments meted out for mistakes or fraudulent messages. Also of interest is the author’s too brief chapter on optical telegraph systems in other nations. Germany, Norway, England, Spain and the United States all developed some system of optical telegraph. In the United States, the authors point to an optical telegraph system between Boston and Martha’s Vinyard in 1801, one in San Francisco between 1849 and 1853, and a line between New York and Philadelphia in the 1840s, but the evidence present is slim.
--David Henning data processing non-USA telegraph telegraph, optical France Sweden Chappe, Claude Edelcranz, Abraham networks optical telegraph Henning, David France, optical telegraph Sweden, and optical telegraph Spain Great Britain Norway Germany bibliographies, and data networks Hooke, Robert networks data networks, early semaphore system telescopes bibliographies Europe Europe, and telegraph Holzmann, Gerald J. and Björn Pehrson The Early History of Data Networks 2610 Hondros, E. D. Materials, Year 2000 Tom Forester, ed. The Materials Revolution: Superconductors, New Materials, and the Japanese Challenge Cambridge, MA MIT Press
1988
61-84 Hondros, who at the time of this article was director of the Joint Research Center of the Patten Establishment in the Netherlands, stresses the important role that materials play in technological innovation. They are precursors to innovations expected in the not-too-distant future. The authors notes that governments are becoming increasingly aware of the importance of materials. Hondros assesses the world’s reserves of essential industrial materials and is cautiously optimistic as he advocates increased conservation, recycling, reclamation endeavors. This article originally appeared in The International Journal of Materials and Product Technology, Vol. 1 (no. 1, 1986). R & D computers military communication materials future and science fiction research and development materials computers and the Internet materials revolution research and development, and government support natural resources, and conservation future, and materials future Hondros, E. D. Materials, Year 2000 9830 Honey, Maureen Creating Rosie the Riveter: Class, Gender, and Propaganda during World War II Amherst University of Massachusetts Press
1984
This book discusses the effort of the American government to bring women into the work place during World War II. Honey says that the "predominant media portrayal of women war workers was that they were young, white, and middle-class; furthermore, that they entered the labor force out of patriotic motives and eagerly left to start families and resume full-time home-making. As historians have studied the war period, it has become clear that this image is almost completely false. Contrary to popular belief, the women who entered war production were not primarily middle-class housewives, but working-class wives, widows, divorcees, and students who needed the money to achieve a reasonable standard of living. Most of them had prewar experience in the labor force....” Probably fewer than ten percent of women who worked in war plants had gone to college and more than half had not graduated from high school. Many, if not most, of these women hoped to keep their jobs after the war ended, although many were replaced as male soldiers returned home. nationalism women, and new media public relations advertising motion pictures community democracy war home, and new media home World War II women values propaganda home, and information technology information technology nationalism and communication propaganda women, and World War II World War II, and women propaganda, and women information technology, and home values, and propaganda books, periodicals, newspapers radio democracy and media posters propaganda, and posters posters, and women World War II, and propaganda propaganda, and World War II radio, and propaganda propaganda, and radio motion pictures, and propaganda advertising and public relations military communication Honey, Maureen Creating Rosie the Riveter: Class, Gender, and Propaganda during World War II 5920 Hong, Sungook Marconi and the Maxwellians: The Origins of Wireless Telegraphy Revisited Technology and Culture
Oct. 1994
35 717-49 This articles examines "the priority dispute between Guglielmo Marconi and [Oliver] Lodge over the invention of wireless telegraphy." Hong argues "that any claim for Lodge’s priority is incorrect.” He is refuting the assertion made about Lodge in Hugh G. J. Aitken’s Syntony and Spark (1976). non-USA wireless communication wireless telegraphy radio Marconi, Guglielmo Lodge, Oliver wireless telegraphy, and origins Aitken, Hugh G. J. Hong, Sungook Marconi and the Maxwellians: The Origins of Wireless Telegraphy Revisited 16370 Hopwood, Henry V. Living Pictures: Their History, Photo-Production and Practical Working New York Arno Press & the New York Times
1899, 1970
This book was originally published in London in 1899. Hopwood begins in his opening chapter by discussing "Persistence of Vision and Continued Perception of same Object." Although fascinated with the topic of persistence of vision, he confines himself in the remaining book "strictly to the description and history of apparatus for producing the illusion of motion."(xi)
The author offers an explanation for what he means by "Living Picture." "If we consider it merely as a view presenting the illusion of motion, then we must go back to the early years of this dying century and attribute its origin to Plateau's Phenakistoscope. If we restrict our definition to views of photographic origin, Wenham's experiments in 1852 fulfilled our requirements forty-six years ago. Should it be required that the photographic record be a true analysis of motion, then thirty-four years have passed since Du Mont indicated the methods of chrono-photography. Finally, if it be suggested that the picture must last a definite and somewhat lengthy period, the images being secured at short intervals and in a very restricted space of time, we are compelled to admit the Living Picture as a phenomenon of recent growth; but it must not be forgotten that many views of one action, procured by photography and repeated for as long a period as required, were prepared far earlier than any date which may be termed recent. And, further, it must not be ignored that the different stages quoted above led insensibly one to the other; 225/226 each step was founded on the labours of previous workers or at least rested on the same basis. No! emphatically No! There is not, there never was, an inventor of the Living Picture. Say that it grew from an infinitely small germ, as unlike its present form as the butterfly is unlike the egg from which it evolves; say that many minds have each contributed, and still are contributing their mite towards the realisation of that perfection yet to be attained; say that the Living Picture is the work of nineteenth-century civilised man -- and the statement will be as true as any generalisation can be. So far as a single inventor can be named, Plateau must be recognised as the originator of the pictorial method of producing an illusion of motion by means of persistence of vision. This in a double sense for while the Phenakistoscope was the forerunner of all machines in which a rapidly moving picture was momentarily viewed (and this definition includes machine so late in time as Edison's Kinetoscope), yet Plateau's 'Diable soufflant' was the first step toward all those forms of apparatus in which a picture is momentarily viewed while stationary. True the picture was not stationary, but the principle of differential speed between image and shutter was established." (225-26)
This has two appendices. Appendix I is a "Chronological Digest of British Patents" relating to moving pictures (235-53). Appendix II is an Annotated Bibliography, arranged chronologically by year of publication, from 1825 to 1898. (254-65). journalism modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel motion pictures news and journalism motion pictures, and journalism journalism, and motion pictures motion pictures, and newspapers newspapers, and motion pictures non-USA motion pictures, non-USA non-USA, and motion pictures motion pictures, and origins motion pictures, and persistence of vision Great Britain Great Britain, and motion pictures motion pictures, and Great Britain motion pictures, and patents Phenakistoscope motion pictures, and Phenakistoscope bibliographies motion pictures, and bibliographies bibliographies, and motion pictures motion pictures, and chrono-photography chrono-photography, and motion pictures Hopwood, Henry V. Living Pictures: Their History, Photo-Production and Practical Working 38910 Hornblow, Arthur Among the Players Peterson Magazine
Sept. 1895
5 9 951-60 This article discusses the upcoming theater season and is accompanied by several pictures of well-known stage actresses. Among the actresses discussed is Maud Adams, who at 24 was John Drew's leading lady. "She is the youngest leading woman on the stage, and one of the most popular and successful. She has a singularly sweet face and the parts she usually plays on stage represent faithfully what she is in real life -- a modest, refined, and sympathetic little gentlewoman. It is not generally known that Maud Adams's father was a Mormon, the family originally having come from Salt Lake City. Her mother, Annie Adams, also an actress in Mr. Drew's company, is likewise a woman of culture and rare amiability. Maud Adams went 959/960 on the stage as a child. She was first seen in New York in a piece called 'The Paymaster,' and later in Hoyt's play 'A Midnight Bell.'..." (959-60) fame celebrity anti-theatrical bias censorship actors acting photography motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality sexuality sexuality, and photography women women, and photography photography, and sexuality audiences audiences, and women women, and audiences censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings actors, and status of anti-theatrical prejudice actors, and bias against women, and actresses actors, and women celebrity, and Maude Adams Adams, Maude, and photography magazines, and photography photography, and magazines magazines Hornblow, Arthur Among the Players 9840 Horowitz, Daniel The Morality of Spending: Attitudes toward the Consumer Society in America, 1875-1940 Baltimore and London Johns Hopkins University Press
1985
; media effects See also: media convergence See also: media See also: mass media See also: violence See also: sexuality This work deals with consumerism in the age of the Industrial Revolution and the rise of mass media. Concern about a society fixated with self-gratification and self-realization is not a recent issue. Social surveys conducted by state bureaus from the 1870s gathered data from low- and middle-income groups of families about incomes and expenditures, with the reports containing more than simple statistics. Moralistic judgments were made about how families were spending their money: the purchase of alcohol was alluded to, if not directly cited; in studies from the late nineteenth century; later, attendance at movies was regarded as frivolous. Gradually, however, the middle-class researchers who gathered the data stopped passing judgment. By the 1930s the business of analysis and interpretation passed to sociologists. What became evident from a review of the literature of such studies was an increased expenditure for entertainment and leisure items with each passing decade. From the newspapers and magazines of the past comes commentary about some of the social survey research; the evolution of how the media interpreted the data is also revealing. A society that had prized frugality, thrift, and self-denial had been transformed to one in which household or personal budgets could be made flexible in order to afford amenities.
--James Landers advertising, and public relations propaganda public relations newspapers media effects values media mass media general studies Industrial Revolution advertising consumerism values, and advertising mass media, and consumerism Landers, James media effects, survey research newspapers, and advertising news and journalism news Horowitz, Daniel The Morality of Spending: Attitudes toward the Consumer Society in America, 1875-1940 4960 Horrigan, Brian The Home of Tomorrow, 1927-1945 Joseph J. Corn, ed. Imagining Tomorrow: History, Technology, and the American Future Cambridge, MA MIT Press
1986
137-63 This essay discusses General Electric, Westinghouse, and electricity. Horrigan notes that during the years covered in this essay, the term "home of tomorrow" attracted serious interest at world's fairs, in advertising and magazines, and led to numerous predictions about homes of the future. technology home entertainment corporations corporations corporations entertainment, home home entertainment future and science fiction home, and new media home home, and information technology networks information technology electricity General Electric Company Westinghouse Corporation networks, electrical future information technology, and home technology and society home, and electricity future, and home Horrigan, Brian The Home of Tomorrow, 1927-1945 39730 Horton, William S. The Art of Seeing Color Current Literature
Oct. 1897
22 4 365-66 The author notes that at least one illustrator who is color blind is still "alive to line and form." (365) Horton is interested, though, in "the importance and possibilities of color and its subtle influence upon the senses." (366) He then talks about how various colors -- red, blue, green, yellow -- are often associated with warmth or the shedding of blood (red), coldness or depression (blue), quiet and tranquility (green), a spring morning (yellow). He notes that color plays an important role in the world's religions. He turns then to Japan and says that "of all the Oriental nations the Japanese possess the most intense and almost insatiable love of color, which enters into every detail of their civil and religious life, and in their naive and childlike enjoyment of nature lies the secret charm of Japanese art." (366) In North American, the "Indian loves color, and takes supreme delight in decking himself." War paint has a special appeal, the author says. religion religion, and color media effects emotion color, in literature color color, and inadequacy of language color, in history color, and theory color, and language color, and modernity modernity modernity, and color color, and emotion emotion, and color color, and psychology color, and religion religion, and color values color, and values values, and color non-USA non-USA, and color Japan Japan, and color color, and native Americans Horton, William S. The Art of Seeing Color 3040 Hounshell, David A. Hughesian History of Technology and Chandlerian Business History: Parallels, Departures, and Critics History and Technology
1995
12 3 205-24 This article examines the influential ideas of Thomas P. Hughes (history of technology) and Alfred D. Chandler (business history), discusses the interaction between Hughes and Chandler, and identifies areas on which they disagree and agree. "The problem of technological determinism has attended both scholars' work and has become one of the principal avenues by which their work has been criticized. This essay argues that the rise of social construction of technology and its cousins stemmed in large measure from political concerns about human agency in historical change in general and the problem of technological determinism in particular.
"Both social constructivism and historians' embrace of the critique of American manufacturing methods launched by Piore and Sabel in their 1984 book, The Second Industrial Divide, have become principal means by which some historians have sought to lessen the dominance of Chandlerian approaches in business history and to move beyond Hughesian systems analysis in the history of technology." technology technology and society Hughes, Thomas Chandler, Alfred technological determinism technology, and systems Hounshell, David A. Hughesian History of Technology and Chandlerian Business History: Parallels, Departures, and Critics 3910 Hounshell, David A. comp. Manuscripts in U. S. Depositories Relating to the History of Electrical Science and Technology Washington, D. C. Smithsonian Institution, Division of Electricity and Nuclear Energy
[1973]
In late 1971, the History of Electrical Technology Group - Society of the History of Technology pointed to the need to identify and save sources related to electrical history and also recommended that the Smithsonian Institution, which already had a large collection of electrical artifacts, be the coordinating center of such an undertaking. Thus the Smithsonian's Division of Electricity and Nuclear Energy helped to establish an Archive for the History of Electrical Science and Technology to 1) encourage and coordinate preservation of manuscripts and artifacts, and 2) to maintain a national inventory of such primary materials related to electrical history. The inventory in this 116-page book is built around holdings identified in the National Union Catalog of Manuscript Collections. archives preservation history, and new media history electricity archives bibliographies electricity, and history of history, and electricity electricity, and bibliographies electricity, and archives archives, and electricity bibliographies, and electricity Hounshell, David A. comp. Manuscripts in U. S. Depositories Relating to the History of Electrical Science and Technology 290 Houston, Edwin J. The Edge of the Future in Science McClure's Magazine
1894
2 2 199 This brief article was part of a longer article entitled "The Edge of the Future" where well-known people were asked to speculate on what the future would bring. Here, Houston predicts "a practical apparatus for seing through a wire; i.e., a device for looking into a receiver at one end of a metallic wire and seeing therein a faithful reproduction of whatever optical images are impressed on a transmitter at the other end, even though thousands of miles intervene." (199) future television seeing at a distance future and science fiction electricity Houston, Edwin J. The Edge of the Future in Science 22720 Howard, James L. Clifford B. Reifler Myron B. Liptzin Effects of Exposure to Pornography Technical Report of the Commission on Obscenity and Pornography Washington, D. C. U. S. Government Printing Office
1970
8 97-132 See also: media See also: violence See also: sexuality The 1970 Report of the President's Commission on Obscenity and Pornography argued that repeated exposure to pornography led to satiation or to declining interest in erotic materials. Critics charged that this conclusion rested on slim evidence. This study in the Report, for example, used fewer than three dozen college-age males. sexuality motion pictures mass media pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography Myron B. Liptzin Effects of Exposure to Pornography 31770 Howard, T. Bad Little Bad Girl Saturday Evening Post
June 14, 1958
230 32-33+ One of several articles in mainstream U. S. magazines publicizing Brigitte Bardot after her movie And God Created Woman. magazines Bardot, Brigitte magazines, and sexuality sexuality women women, and magazines magazines, and sexuality motion pictures motion pictures, and Brigitte Bardot Howard, T. Bad Little Bad Girl 39550 Howe, Frederic C. What To Do with the Motion-Picture Show: Shall It Be Censored? Outlook
June 20, 1914
412-16 Howe, who was chairman of the National Board of Censorship (NBOC) (established in 1909), begins by setting out a list of controversial issues covered by the motion picture that have led to calls for censorship: "sex questions, the white slave traffic, or the social evil.... labor struggles, conditions in mine and factory; when it becomes the daily press of industrial groups or classes, of Socialism, syndicalism, and radical opinion." He then notes that there is one extreme group that wishes to have harsh censorship of all films while another group wants movies to be as free as possible. To the latter group, "the motion picture is no different from the daily press, theater, or any other form of communication." (412)
Howe then discusses the scope of the film industry in 1914 -- "from 16,000 to 20,000 motion-picture theaters in the United States" which "entertain from 7,000,000 to 12,000,000 persons daily, or from 2,000,000,000 to 3,000,000,000 persons a year." (412)
Howe comments on the scope of what movie cameras cover and their potential influence on audiences, and especially on children. "The most inaccessible corners of the earth are being explored by the camera man, while the life of the insect and the plant, of the arctics and the tropics, of the Wild West and the city, are being portrayed to somewhere in the neighborhood of one-tenth of our population every day. Next to the daily press and the school the movie is probably the most influential educational and recreational agency in our daily life. That is one reason why the question of its freedom is of such far-reaching significance.
"No one can trace the influence of the motion-picture show in opening the minds of people to new experiences, new realms of knowledge, new ambitions. It is impossible to measure the contribution which it makes to the mind of the child accustomed to learn only through parents and teachers. Nor can we trace its social or moral influence...." (413)
The movies differ from the saloon, Howe says, and may even be taking business away from the liquor business. "Men now take their wives and families for an evening at the movies, where formerly they went alone to the near-by saloon," he writes. (413) Some people believed then that movies were hurting attendance at live theater, also.
"These are but a few of the unknown, unseen influences which this colossal commercial agency of publicity has set in motion," Howe writes. "To those who would act heedlessly or under the spur of some local repressive agitation on the subject I would suggest that they think through the question, into all of the good and the bad, the immediate and the ultimate, for they are dealing with a force almost as potential as the daily press. Moreover, no one can be sure of the moral effects of any book, drama, or portrayal of fact or fiction that is not obviously vulgar, suggestive, or alluring." (413)
Howe explains the work of the NBOC and that 532 films were submitted to it in January, 1914. The NBOC "has no legal position," he says, and "does not consider the destruction of films as its most important work. The most valuable results are to be found in the graduate improvement of the quality of motion pictures and in the elimination from all the films of certain undesirable motives, which, in the opinion of the Board, should not be portrayed to audiences containing a considerable percentage of children." (414) Howe says that all the work is done by "voluntary committees" (414) and names many of them and how the censorship process works. He then lists the standards the NBOC tries to follow (415).
Howe warns about the danger of government censorship. "If such censorship is provided for, will not this great field of dramatic expression be subjected to the fear of suppression, so that only the safe and sane, the purely conventional, the uncontroversial film will be produced? he asks. He notes that government censorship of the movies would be comparable to censoring the Associated Press "and almost as dangerous to the freedom of the country. (416) He concludes by saying that "the motion-picture show is not only democracy's theater, it is a great educational agency, and it is likely to become a propagandist agency of unmeasured possibilities." (416) censorship motion pictures censorship censorship, and motion pictures motion pictures, and censorship censorship and ratings censorship, and Frederic Howe motion pictures, and Frederic Howe motion pictures, and printing press censorship, and National Board of Censorship National Board of Censorship, and motion pictures motion pictures, and National Board of Censorship sexuality motion pictures, and sexuality sexuality, and motion pictures motion pictures, and white slavery white slavery, and motion pictures audiences motion pictures, and audiences audiences, and motion pictures motion pictures, and 2-3 billion per year media effects motion pictures, and media effects media effects, and motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space motion pictures, and travel advertising and public relations motion pictures, and public relations public relations, and motion pictures children and media motion pictures, and children children, and motion pictures education education, and motion pictures motion pictures, and education values values, and motion pictures motion pictures, and values democracy propaganda democracy, and motion pictures motion pictures, and democracy propaganda, and motion pictures motion pictures, and propaganda advertising children National Board of Censorship public relations Howe, Frederic C. What To Do with the Motion-Picture Show: Shall It Be Censored? 23840 Howe, Robert F. U.S. Accused of "Censorship by Intimidation" in Pornography Cases Washington Post
March 26, 1990
A 4A This article reports that "First Amendment specialists have accused the Justice Department of deliberately abusing obscenity laws to drive mail-order companies out of business for distributing adult films and publications that were never determined to be obscene." These specialists called the Justice Department's National Obscenity Enforcement Unit's strategy "censorship by intimidation." American Library Association presidents, and new media Reagan administration values sexuality values obscenity law censorship and ratings Meese Commission pornography pornography, and Meese Commission pornography, and opponents pornography, and legal obscenity, and pornography pornography, and obscenity obscenity, and legal Reagan administration, and pornography pornography, and Reagan administration censorship censorship, and Reagan administration Reagan administration, and censorship National Obscenity Enforcement Unit pornography, and American Library Association American Library Association, and obscenity American Library Association, and pornography Howe, Robert F. U.S. Accused of "Censorship by Intimidation" in Pornography Cases 6020 Howeth, Linwood S. History of Communications-Electronics in the United States Navy Washington, D. C. Government Printing Office
1963
U. S. Navy R & D research and development war government war military communication U. S. Navy, and electronics military, and electronics Howeth, Linwood S. History of Communications-Electronics in the United States Navy 930 Howland, John A. He Made the First Motion Picture to Win a Wager, By Setting Twenty-Four Cameras in a Row Chicago Daily Tribune
July 9, 1911
E 1 The author of this article on Edward Muybridge writes: “One who now sees moving picture reproductions, vivid scenes of real life that seem an open window through which the man in the theater in his home city may view the manner of living of humanity on the other side of the globe, may witness news events often more completely than if he had been at the places depicted, has much to thank, it seeks, to the argument in California in 1872 and the judge who found something big in his method of decision.” future photography motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space metaphors home and new media motion pictures, and home theater home entertainment seeing at a distance television television, and early ideas future and science fiction motion pictures, as open window Muybridge, Edward photography and visual communication photography, and Edward Muybridge home Howland, John A. He Made the First Motion Picture to Win a Wager, By Setting Twenty-Four Cameras in a Row 27900 Hozic, Aida A. Hollyworld: Space, Power, and Fantasy in the American Economy Ithaca & London Cornell University Press
2001
This book is divided into three chapters -- 1) Hollywood and the Studio; 2) Hollywood on Location; and 3) Hollywood in Cyberspace. The first period, "the era of mass production," runs from the 1920s through the 1950s. The second. "the era of dispersed production," goes from the 1960s to the 1990s. The third, the "digital and infotainment age," from the 1990s forward. These divisions make good sense and as one looks at the infusion of new technologies into movie making, it is understandable why the censorship reflected in the Production Code of 1930 collapsed during the 1960s.
Hozic is insightful in discussing the impact of digitization on movie making, and the new relationship that has developed between Hollywood and the military. She notes that Hollywood's economic imperatives, the fantasy worlds created by this business, and Hollywood's association with the military have inscribed "war and violence into the very economy of the entertainment industry." (137) She notes that such movies as Steven Spielberg's Saving Private Ryan have revived the public's affection for people in the military. "Computer companies, such as Silicon Graphics, whose income and research and development once largely depended on the Department of Defense, are increasingly turning to Hollywood in search of projects, ideas and funding. Even the moribund artificial intelligence projects, brainchildren of the Cold War, are being revived by demand from the entertainment sector. The diminishing influence of the Gunbelt economy and the rise of Siliwood -- the mix of Silicon Valley and Hollywood -- will quite likely change not just the balance of power within Hollywood but the position of Hollywood in both the American and globan economy in general." (141) R & D nationalism entertainment computers special effects, digital special effects, and digitization nationalism imperialism entertainment, home photography special effects simulations projection motion pictures research and development war media effects media violence home entertainment Hollywood digital media digital cinema digital movies digital cinema digitization cultural imperialism consumerism computers law censorship and ratings censorship war 35mm home, and new media home motion pictures and popular culture cameras cameras, and digital movies motion pictures, and digital new media home entertainment revolution home entertainment revolution, and digital movies photography and visual communication photography, and digital movies digital technology digial movies, how they work 35mm film 35mm film, and digital movies digital movies, and 35mm film projectors, digital projectors, digital movie computers and the Internet computers, and digital movies digital movies, and computers virtual reality virtual reality, and digital movies digital movies, and virtual reality Hollywood, and digital movies digital movies, and Hollywood media convergence Hollywood, and media convergence media convergence, and digitial movies censorship, and new media censorship, and digital technology digital technology, and censorship cultural imperialism, and motion pictures motion pictures, and cultural imperialism military communication military communication, and motion pictures motion pictures, and military nationalism and communication motion pictures, and nationalism nationalism, and motion pictures military, and digital movies violence violence, and motion pictures military, and violent movies violence, and military special effects, and digital media military, and special effects simulations, and military simulations, and motion pictures motion pictures, and simulations military, and simulations consumerism, and motion pictures motion pictures, and capitalism Hozic, Aida A. Hollyworld: Space, Power, and Fantasy in the American Economy 620 Huang, Han-Yu Working through the Unbearable Ambivalence: On the Technological Subject, Space and Time in Cyberpunk and Cyberculture (Chuanyue bukechenshou chih maoduan: Luan tiannao panke yu wanglu wenhua chih keji chuti, kongchien yu shichien) Taipei, Taiwan doctoral thesis, National Taiwan University (Kuoli Taiwan ta hsue)
2001
This unpublished doctoral dissertation begins from a basic observation that contemporary techno-cultural realities involve a “narrative-crisis” and they are complex, ambivalent and cyberpunk. They will be examined by means of “a symptomatic reading”: each enunciation, text, discourse, and practice under examination will be interpreted as betraying its own ideological limitations and contradictions, responding to the overall techno-cultural, symbolic system in crisis. Such a reading posits “the technological Other” as an irreducible category with respect to the conceptions of subjectivity, spatiality, and temporality in cyberculture. The objective is to expose and then “work through” textually — as well as conceptually and ideologically — symptoms, assess how they may generate interpretive and strategic values for our deeper understanding of cyberculture, and formulate a more workable, rather than finalized, model for thinking.
The thesis is divided into four chapters. Chapter one places cyberpunk, an essential part of cyberculture, in the contexts of science fiction and postmodernity. Chapter two offers a critical analysis of various “technological beings” such as cyberorgs, AIs, ALs, memory constructs and cybervoodoos imagined and imaged by cyberpunk and other contemporary technocultural discourses. Chapter Three examines various discourses and inventions related to “cyberspace” and “virtual reality,” and expands the discursive formations of both categories by means of relocating them in the Western tradition of “the drive to virtuality.” And the last chapter first takes issue with the “death-announcements” of cyberpunk and exposes their ideological symptoms. The next focus is placed upon a more general level: the relevance of “death” (or “end”) to the conception of “history,” especially under the “posthuman” condition.
As a whole, this essay covers a wide spectrum of science-fictional, philosophical, technological, socio-cultural, and psychoanalytic discourses on body, mind, memory, consciousness, the unconscious, subjectivity, spatiality, reality, virtuality, life and death, evolution, and history.
-- Amy Chu computers non-USA Chu, Amy Taiwan computers and the Internet postmodernism virtual reality Taiwan, and artificial intelligence Huang, Han-Yu Working through the Unbearable Ambivalence: On the Technological Subject, Space and Time in Cyberpunk and Cyberculture (Chuanyue bukechenshou chih maoduan: Luan tiannao panke yu wanglu wenhua chih keji chuti, kongchien yu shichien) 660 Huang, Yu Chinese Televison in Mao's Era (1958-1976): A Historical Survey Journal of Radio & Television Studies (Gaunbo yu tianshi)
Jan. 1996
2 3 143-70 nationalism Asia ideology communism non-USA television China China, and television television, and China nationalism and communication nationalism, and television (China) communism, and television (China) television, and ideology ideology, and television television, and communism television, and Mao Zedong Huang, Yu Chinese Televison in Mao's Era (1958-1976): A Historical Survey 650 Huang, Yu and Jen Wei From 'Mouthpieces' to Party-Run Enterprises: Exploration of China's Television, 1958-1998 East Asia Quarterly (Dongyah jikan)
July 1998
29 3 76-92 China's television industry has turned from a propaganda machine to a party-run enterprise during the forty year of its existence. The authors examine the evolution of television, which was first launched in 1958, and consider problems and dilemmas brought by commercialization.
--Amy Chu nationalism Asia television, and digital communism non-USA Chu, Amy television China television, and China China, and television television, and commercialization (China) nationalism and communication nationalism, and television (China) television, and communism (China) communism, and television (China) television, and communism Huang, Yu and Jen Wei From 'Mouthpieces' to Party-Run Enterprises: Exploration of China's Television, 1958-1998 6930 Hubbell, Richard 4000 Years of Television: The Story of Seeing at a Distance New York Putnam
1949
television, and history of television television, and origins seeing at a distance Hubbell, Richard 4000 Years of Television: The Story of Seeing at a Distance 12170 Hubner, John Bottom Feeders: From Free Love to Hard Core: The Rise and Fall of Counterculture Heroes Jim and Artie Mitchell New York Doubleday
1992
This work is a popular history of hard-core filmmakers Jim and Artie Mitchell. Although the work does not have a bibliography or notes, it does contain useful information on the pornographic film industry. The author does provide some discussion of the early history of stag films, or blue movies, and the rise of magazines such as Playboy that featured nudity. The discussion is derivative from early works on these topics. More original is the discussion of the post-1960s. The work discusses how such theaters as the Screening Room, Sutter Cinema, and the O’Farrell in San Francisco played an important role in the exhibition of hard-core films during the 1970s.(110) Such theaters spread into many other cities by the end of the decade. (202) The author provides some information about the technology of some hard-core movies such as Behind the Green Door (1973?) which was filmed in 16 mm and cost the Mitchell brothers about $60,000. (198-200) By the early 1990s, this work notes, if one invested more than $30,000 on a pornographic videotape, it was unlike they would make their money back. By and large, though, this work is about personalities, with an occasional observation about the technology of the porn industry. audiences photography theaters sexuality photography and visual communication values motion pictures cinema motion pictures celluloid film law censorship and ratings 16mm motion pictures and popular culture photography and visual communication Mitchell brothers 16mm film film, and 16mm pornography censorship censorship, and pornography motion pictures, and porn theaters obscenity pornography, and censorship values values, and pornography theaters, and motion pictures theaters, and pornography Hubner, John Bottom Feeders: From Free Love to Hard Core: The Rise and Fall of Counterculture Heroes Jim and Artie Mitchell 3320 Hudson, C. A. Computers and Manufacturing Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
260-72 See also: office At the time of this article, computers were already widely used in factories and in the coming decade, the author predicts their use will be even more widespread. The author gives an account of problems involved in automation, and of CNC, CAD, and CAM. When this appeared, the author worked for Westinghouse Electric. This piece was first published in Science magazine (Feb. 12, 1982). computers corporations corporations corporations labor information technology computers and the Internet automation information technology, and industry labor, and automation Westinghouse Corporation artificial intelligence and biotechnology labor labor, and new media Hudson, C. A. Computers and Manufacturing 6940 Hudson, Heather E. Satellite Broadcasting in the United States Ralph Negrine, ed. Satellite Broadcasting: The Politics and Implications of the New Media New York and London Routledge
1988
216-33 Hudson surveys the development of satellites from the creation of NASA in 1958 through the early post-Challenger explosion (early 1986). She discusses satellites and cable TV programming, news gathering, teleconferencing, radio broadcasting, voice and data services, and direct broadcasting satellites. She concludes by speculating on the future and notes while the role of satellites will undoubtedly continue to change, "communication satellites will remain an important element in U.S. telecommunications of the foreseeable future...." National Aeronautics and Space Administration (NASA) nationalism journalism future and science fiction news and journalism non-USA television satellites nationalism and communication telecommunications global communication aeronautics and space communication nationalism, and satellites NASA satellites, and television television, and satellites radio radio, and satellites future, and satellites satellites, and news gathering news, and satellites satellites, and telecoferencing satellites, and cable TV cable television, and satellites future news cable Hudson, Heather E. Satellite Broadcasting in the United States 22910 Hudson, Henry E. Statement of Henry E. Hudson, Chairman Final Report of the Attorney General's Commission on Pornography Nashville, TN Rutledge Hill Press
1986
484-86 Henry E. Hudson chaired the Meese Commission that studied and made recommendation on pornography in 1985-1986. Hudson was a Republican in his late 30s was an attorney who had successfully prosecuted pornography in Arlington County, Virginia. President Ronald Reagan lauded his work at a meeting with leaders of Morality in Media in March, 1983, and later nominated him to be U. S. attorney for the Eastern District of Virginia. Hudson’s main interest on the Commission lay in developing legal strategies to proscribe pornography. He doubted the ability of social science research to measure fully the effects of pornography. entertainment computers video cassette recorders (VCRs) post office government hearings entertainment, home magnetic recording photography women, and new media social science research values archives sexuality home entertainment government magnetic tape First Amendment computers and the Internet color freedom values religion censorship and ratings law cable home home, and new media home Meese Commission hearings pornography motion pictures and popular culture motion pictures motion pictures, and pornography pornography law, and pornography pornography, and law pornography, and new media home entertainment revolution pornography, and home home, and pornography television postal service television, and cable cable television, and pornography aeronautics and space communication satellites, and television television, and satellites computers computers, and pornography pornography, and computers VCRs VCRs, and pornography pornography, and VCRs magazines, and pornography pornography, and magazines photography and visual communication photography, and pornography pornography, and photography color, and pornography pornography, and color media effects media effects, and pornography pornography, and media effects, pornography, defined children media effects, and children children, and pornography pornography, and children women women, and pornography pornography, and women religion, and pornography pornography, and religion personal computers personal computers, and pornography media effects, and pornography social science research, and pornography pornography, and social science research First Amendment, and Meese Commission First Amendment, and pornography pornography, and legal pornography, and First Amendment pornography, and opponents critics magazines satellites children, and media Hudson, Henry E. Statement of Henry E. Hudson, Chairman 36690 Hudson, Peggy Boudoir Battle Shifts from Wide to Home Screen New York Times
Dec. 4, 1966
X13 This article discusses the increasingly large role that Hollywood films are having on network television. In 1965, the Motion Picture Association of America said that it grossed about $350 million from TV sales worldwide. Studios were then regularly making several versions of the same film -- one for American theaters, a sexier version for sale abroard, and "a toned-down, covered-up television version." The article notes that such films as Otto Preminger's Advise and Consent aired with its homosexual subplot largely intact; Hitchcock's Psycho was scheduled to aired with the shower scene shortened but not eliminated; and that other movies dealing with illicit sex, suicide, impotence, and nudity were under consideration. censorship self-regulation motion pictures, and sexuality sexuality , news motion pictures sexuality Production Code censorship and ratings sexuality motion pictures, and sex Production Code, and sex Johnston, Eric motion pictures, and homosexuality homosexuality homosexuality, and motion pictures censorship, and homosexuality Production Code, and homosexuality Preminger, Otto Production Code, and Otto Preminger Preminger, Otto, and Production Code television motion pictures, and television television, and motion pictures television, and Production Code television, and censorship Production Code Production Code (TV) Hudson, Peggy Boudoir Battle Shifts from Wide to Home Screen 34300 Huesca, Robert Brenda Dervin Hypertext and Journalism: Audiences Respond to Competing News Narratives Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
281-307 "The purpose of this chapter is to explore the particular changes of hypertext theories to narrative forms and practices of journalism by examining the interactions of news readers and hypertexts. Specifically, it reports the findings of a qualitatitve study of online news users who read both an original news story that appeared on the Los Angeles Times Web site and a redesigned, hypertext version of the same material." (281)
The volume in which the chapter by Huesca and Dervin appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality present mindedness nationalism Internet global communication community news and journalism nationalism and communication democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors capitalism capitalism, and digital media digital media, and capitalism Internet, and capitalism capitalism, and Internet globalization censorship and ratings news, and censorship news, and time time and timekeeping time, and news television television, and news history and new media presentism nationalism and communication journalism, and nationalism nationalism, and journalism news, and television nationalism, and digital media digital media, and journalism journalism, and digital media gatekeeping hypertext hypertext, and journalism journalism, and hypertext history journalism news Brenda Dervin Hypertext and Journalism: Audiences Respond to Competing News Narratives 5350 Huff, Duane L. The Magic of Cellular Radio Tom Forester, ed. The Information Technology Revolution Cambridge, MA MIT Press
1985
137-46 “Cellular radio now makes it possible to use public telephones on the move. Soon high-quality, hand-held mobile phones will be widely available for use in taxis, trains, buses, planes, and private cars," Huff predicts. "Industries like construction and fast-food will greatly benefit.” This piece appeared originally in Technology Review (Nov.-Dec., 1983). See also the article in this anthology, “Will mobile telephones move?” by Ithiel de Sola Pool (pp. 144-46). telephones cell phones networks telephones telephones, cellular cellular telephones Pool, Ithiel de Sola networks, and telephones telephones, and transportation Huff, Duane L. The Magic of Cellular Radio 22410 Hughes, Douglas A. ed. Perspectives on Pornography New York St. Martin's Press
1970
See also: media See also: violence See also: sexuality This volume has articles (e.g., George Elliott, George Steiner, and Ernest van de Haag) written by social, legal, and political conservatives in the aftermath of the 1970 Report by the President Commission on Obscenity and Pornography. They warned that pornography dehumanized society, eroded self-restraint, undermined democratic government, and, when disseminated through mass media, could even destroy civilization. The 1970 Report of the President Commission on Obscenity and Pornography argued that pornography and erotica were essential harmless and that restrictions imposed on them by society should be loosened. conservatives archives sexuality motion pictures mass media First Amendment media effects crime freedom law censorship and ratings censorship pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship First Amendment, and pornography pornography, and First Amendment pornography, and George Elliott pornography, and George Steiner pornography, and Ernest van de Haag Hughes, Douglas A. ed. Perspectives on Pornography 660 Hughes, Thomas P. American Genesis: A Century of Invention and Technological Enthusiasm, 1870-1970 New York Viking
1989
Hughes offers a good overview of a century of technological development, although his coverage of the late-nineteenth and early twentieth centuries is superior to his treatment of the later period. Of particular interest are his Introduction (“Technological Torrent”), chapter 7 on “The Second Discovery of America,” chapter 8 on “Tennessee Valley and Manhattan Engineer District,” and the last chapter (no. 9), “Counterculture and Momentum.”

-- SV

This study of the century of American invention, described by Hughes as roughly 1870 to 1970 is a gripping book that straddles the border between popular and academic history. Hughes seeks to place the history of technology squarely in the center of mainstream American history, rather than a separate niche of inquiry. As he says, the history of technology in the United States is the study of the nation involved in its “most characteristic activity.” The history of technology, for Hughes, is American history. During these years, inventors and “experts” of various kinds unleashed a dramatic reorientation of American life around new products and technologies, including many that fall under the heading of mass communication. Hughes’s discussion of technological enthusiasm, the stunning optimism and forward thinking that overcame most Americans, is helpful for understanding why people were so quick to adopt the new products and, more interestingly, place so much faith in the scientist to resolve economic and social problems.
The careers of America’s foremost inventors and scientists have been studied nearly as much as the inventions and innovations themselves. What Hughes tries to do in this volume is to look at the breadth of the “technological century” and place it the context of political, economic, and social change that made America modern. Scholars looking for information on people like Edison, Sperry, Insull, and the Wright Brothers will not be disappointed. He describes their work adequately. What makes the book more interesting is how he presents the material. The Wright Brothers, for example, are presented within the context of the rise of the military-industrial complex rather than as heroic and visionary inventors. Insull is depicted in the context of the way his electrical grid changed people’s lives.
The book is based on the idea of systems, which Hughes believes is the greatest accomplishment or legacy of the period covered in the book. It is not the individual invention, but the invention of a system of inventing that attracts his scholarly eye. Fordism and Taylorism are presented as more than just ways of doing business, but instead as a reorientation of American life. The other dominant theme in the book is the rise of gigantic engineering project, like the TVA and the Manhattan Project, that join government, academia, and the business community. The social effects of the TVA, he argues, are probably greater than the economic costs or physical changes to the landscape. A final interesting thread in the book is a running discussion of the effect of technological enthusiasm on modern art and architecture. The rise of the machine had an enormous impact on the subject matter and philosophy of modern art, more or less forcing a total reexamination of the very purpose and meaning of art.
Communications scholars will possibly be disappointed in the lack of material narrowly focused on the rise of mass communications technology. The invention and spread of radio gets some ink here, but other technologies that we know have changed communication profoundly are absent. However, the book is valuable for communication history because of its examination of the rise of systems, like the electric grid which enabled almost all of mass communication technology, and the idea of technological enthusiasm itself, which played a role in how people adapted to and made use of new communication technology in their daily lives.

-- Rob Rabe technology atomic power innovation war general studies electricity Tennessee Valley Authority (TVA) atomic energy technology and society inventions counterculture World War II Rabe, Rob technology, and systems technological determinism Hughes, Thomas P. American Genesis: A Century of Invention and Technological Enthusiasm, 1870-1970 4970 Hughes, Thomas P. Networks of Power: Electrification in Western Society, 1880-1930 Baltimore Johns Hopkins University Press
c1983
Hughes writes that "Of the great construction projects of the last century, none has been more impresssive in its technical, economic, and scientific aspects, none has been more influential in its social effects, and none has engaged more thoroughly our constructive instincts and capabilities than the electric power system. A great network of power lines which will forever order the way in which we live is now superimposed on the industrial world." (from the opening paragraph of the Introduction). This infrastructure took form between 1880 and 1930.
This work is an excellent comparative study of the spread of electrical networks in the late nineteenth and early twentieth centuries in the United States, Germany, and Britain. Hughes gives a good account of Thomas Edison’s construction of the first network in the Pearl Street section in New York City’s financial district during the early 1880s. He notes that Edison was not content with isolated inventions such as the electric light, but rather concentrated on systems of invention. Edison gained patents on scores of inventions related to the electric light.
Hughes contends that Britain lagged behind the United States and Germany in building an electrical network because the latter two countries provided more favorable environments for business investment. In New York, Edison had to deal with local officials to gain permission to open city streets and for other construction necessities. In London, permission frequently had to be obtained from Parliament.
--SV

Hughes looks at the social history, and to some degree the technical history, of the process by which the networks of electrical power were put into place in the industrialized nations between 1880 and 1930. This was an uneven process that varied from one nation and locality to another, depending upon a variety of cultural, political and economic factors. Hughes focuses on the United States, Germany and England, and especially on Chicago, Berlin and London. The three cities vary substantially as to these cultural, political and economic factors, and demonstrate that electrification was hardly a matter of immediate and sweeping change once the technology was made available. London, a very old city that had thoroughly weathered the first industrial revolution, was locked into a conservative cast of mind that presented difficulties for the new technology. Newer cities, Chicago and Berlin were much more receptive, though their political climates varied considerably. Berlin had the benefit of honest and civic-minded politicians; Chicago did not, but fortunately found itself under the ministrations of an unusually competent autocrat, Samuel Insull. Overall, Hughes sees this process of electrification to have been a conservative one once it gathered the momentum of size in terms of both the physical networks themselves and the capital investment. Once the initial skirmish between direct and alternating currents had played itself out, very little dramatically new technology found its way into the process.
--Gordon Jackson technology technology and society labor non-USA office office, and new media office networks lighting Great Britain Germany electricity networks, electrical Great Britain, and electricity Germany, and electricity Europe, and electricity Edison, Thomas capitalism Industrial Revolution lighting, electrical electricity, and history of Europe Great Britain Germany infrastructure, and electricity electricity, and infrastructure Jackson, Gordon networks, large-scale technological determinism technical systems technology and society, and theory Jackson, Gordon infrastructure Hughes, Thomas P. Networks of Power: Electrification in Western Society, 1880-1930 41440 Hughes, Thomas P. The Stage from a Clergyman's Standpoint Forum
Feb. 1896
20 6 695-704 The author says that only forty years ago "the whole trend of the pulpit was against the stage, and it is only by very slow although very perceptible changes that the theatre has gradually been tolerated by religious teachers." (695) Bishop Fraser of Manchester, England, had hoped to reform the theater but near his death, Hughes says, he wrote to an American clergyman his efforts had been disappointing. "He [Fraser] found that neither the managers of theatres nor the actors themselves desired any great reform in the direction of morality, while the public seemed to care very little about the subject." (696)
Although frustrated by efforts to reform the stage and actors, ministers had to come to terms with the theater if for no other reason that it was too important to be left alone. “The theatre is an enormous influence,” he said, and where ministers preached once or twice a week, the theatre was “an influence and an instruction, either for good or evil, every day of the week.” (696) It was impossible to eliminate.
Hughes argues that ministers needed to give playgoing serious attention. "I have been told that if any leading preacher of New York city were to denounce any particular play it would be the means of making such a play exceedingly popular. I do not think so. I believe that if a pastor of a fashionable church were to denounce any particular play as positively immoral, it would very soon disappear from the stage. A very large percentage of the ordinary playgoers are communicants of the churches, and a well-considered condemnation of a play would certainly injure its popularity. 'Christian people' would not think it 'respectable' to sit through a play which had been condemned by their spiritual pastors. All that is needed is a little more ministerial courage with regard to the stage, and it will very soon be seen that the pulpit really possesses more power in this direction than it ever had in the history of the modern drama. One thing is certain," Hughes concludes. "If the stage is left to his own devices it will become a fruitful source of injury to the moral well-being of the nation." (704) (emphasis added) theaters morality children anti-theatrical bias critics critics, religious critics, and theater critics, and actors religion religion, and theater religion, and actors actors, and religion values values, and the stage values, and the theater Great Britain non-USA Great Britian, and antitheatrical bias anti-theatrical prejudice theater, and bias against audiences, and theaters theaters, and audiences acting, and bias against censorship and ratings censorship, and theater theater, and censorship morality, and theater theater, and morality false leaders false leaders, and actors actors, as false leaders children and media theater, and children children, and theater acting actors audiences censorship theater Hughes, Thomas P. The Stage from a Clergyman's Standpoint 4690 Hughes, Thomas P. Technological Momentum Merritt Roe Smith and Leo Marx, eds. Does Technology Drive History? The Dilemma of Technological Determinism Cambridge, MA MIT Press
1994
101-13 Hughes develops the idea of "technological momentum," and argues that "younger developing systems tend to be more open to sociocultural influences while older, more mature systems prove to be more independent of outside influences and therefore more deterministic in nature." He sees "technological momentum" a more useful concept than "technological determinism or social constructivisim." technology values preservation history, and new media history technology and society history, and technological determinism technological momentum progress technological determinism Hughes, Thomas P. Technological Momentum 2260 Hugill, Peter J. Global Communications since 1844: Geopolitics and Technology Baltimore The Johns Hopkins University Press
1999
This substantial work is written by a historical geographer. Hugill says that “the primary idea informing this book is that human history, at least for the last 500 years, has been subject to some interesting regularities and that these regularities have been somewhat controlled by the technologies that involve the movement of ideas, goods, people, and information.” This “book stands as a rather elaborate footnote” to Hugill’s earlier work, World Trade since 1431: Geography, Technology, and Capitalism (1993).
Hugill begins in 1844 with the appearance of the “first user friendly” telegraph, and his work ends in 1945 when the United States assumed hegemony over Great Britain in communication. A concluding chapter (no. 8) deals with developments from 1945 to 1971, and considers innovations in telecommunications such as submarine telephony beginning in 1956, and satellite communication, which gave Americans dominance. The author attempts to explain how and why the U.S. surpassed Britain, and why after World War I that even though America assumed military superiority, it still lagged behind the British in communications. The years from 1918 to 1945 were a transition period. “This work focuses on the switch from British to American leadership and contributes to discussions about two key geostrategic and geopolitical questions: Why did Germany lose the two-phase war of transition from 1914 to 1945, and why was the transition from British to American hegemony so slow?”
While Hugill says that he recognizes the significance of one-way communication (e.g., movies), he is concerned primarily in this book with two-way communication. “Four telecommunications technologies are clearly important,” Hugill writes: “telegraphy, telephony, radio, and radar.” He deals with each in turn, and in the process also discussions such other communications - related topics as air power, television, and satellites.
This work is informed by theoretical perspectives set out in the opening chapter. It is “rooted in the two macrotheoretical perspectives of world-systems and long waves,” the author explains. With regard to long-wave theory, Hugill builds on the work of Brian Berry, whose book Long-Wave Rhythms in Economic Development and Political Behavior appear in 1991, and Peter Hall and Paschal Preston’s The Carrier Wave (1988). Hugill also relates is research to Harold A. Innis’s theories set out in Empire and Communication (1950), and The Bias of Communication (1951). R & D corporations post office nationalism corporations Kondratieff, Nikolai corporations research and development war cultural imperialism materials materials war non-USA radio Great Britain nationalism and communication military communication telegraph telegraph submarine telegraph, transatlantic telegraph, transpacific imperialism Great Britain telephones telephones, and satellites telephones, and transatlantic aeronautics and space communication television television, and satellites World War I World War II air power Bell Telephone Company cable, coaxial geopolitics wireless communication, and global global communication Kondratieff waves long-wave theory Innis, Harold Berry, Brian Hall, Peter Preston, Paschal radar Marconi Company Great Britain, and postal system RCA telecommunications wireless communication radio, and shortwave Telstar telecommunications, and satellites vacuum tubes telegraph, wireless Kondratieff cycles cable wireless telegraphy radio Bell Laboratories cable, Atlantic cable, transatlantic geography Marconi, Guglielmo satellites military, and new media nationalism, and new media postal service Hugill, Peter J. Global Communications since 1844: Geopolitics and Technology 3920 Hull, Geoffrey P. The Recording Industry Boston Allyn and Bacon
1998
This book seeks to reexamine what the recording industry had become by the mid-1990s as it entered "a post industrial phase." The author's primary focus is economic because he believes the most important changes in the industry have been economic. Technology, too, has had a central place in the industry's development. Hull writes that "there is no particular Marxist or other critique of the industry. With due respect to those who prefer a cultural or social perspective, there are other publications which do that and such a perspective is not particularly helpful in understanding how and why the industry functions the way it does. Economics is the key to the importance of the recording industry as an entertainment medium of mass communication. Economics is the key to understanding how the three income streams in the industry (the sale of recordings, music publishing, and live appearances) have dominated by the recording interests and how those streams are interrelated. Therefore, the primary perspective here is economic. The three parts of the book examine 1) the industry overall, its relation to other media and its three primary parts, or income streams; 2) the production and marketing functions in detail, including record retailing; 3) the legal structures of copyright law that are so critical to the recording industry, as well as several related laws of significance."
Several themes run through these pages: 1) the dominant factor in the music business is the recording industry. 2) New technology has given more people the ability to make recordings and earn money from them, and also have made music more accessible to a larger number of people. 3) Although the industry is concentrated in a half dozen large multinational firms, diversity of music is increasing and a broader public is being served than ever before. 4) Finally, lrge-scale global economic considerations fuels changes in the industry. discs, compact advertising, and public relations propaganda public relations propaganda advertising public relations print sound recording law compact discs (CDs) CDs sound recording, and music recording piracy music sound recording sound recording, and music industry music industry, and corporate structure (1990s) sound recording, and albums compact discs (CDs) copyright, and recording industry intellectual property radio sound recording, and music videos music videos piracy, and recording industry sound recording, and piracy print media, and sound recording recording studios SoundScan, and recording industry copyright print media print culture public relations, and recording industry advertising, and recording industry advertising Hull, Geoffrey P. The Recording Industry 33170 Human, Brian Kodachrome Icons: Photography, Place and the Theft of Identity International Journal of Contemporary Hospitality Management
Jan. 1, 1999
11 2 and 3 This essay discusses the social impact of photography in the construction of tourist destination. The author points out that tourist photography, because of the consuming nature of tourism, is endowed with a power of selection which can lead to the distortion of spatial and ethnic identity into a series of icons. The consequences of the commodification of places are concerned with the issue of marketing and the media when tourist photographic images are produced. As a result, the author proposes that more ethnographic and empirical researches on this issue are necessary and helpful to the study the destination management.
--Huai-Hsuan Chen tourism Chen, Huai-Hsuan color photography, and color color, and photography color, and Kodachrome photography, and Kodachrome Kodachrome photography, and ethnography ethnography, and photography photography and visual communication photography, and tourism tourism, and photography photography, and travel photography, and space Kodak photography Human, Brian Kodachrome Icons: Photography, Place and the Theft of Identity 34320 Hume, Ellen Resource Journalism: A Model for New Media Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
331-64 Hume writes that "in a media culture dominated by journalists, some are doing important and courageous work, such as the international reporting from Bosnia during the ethnic cleansing of 1993-1996. The uses of faxes, videocassettes, and the Internet help keep outlawed democracy movements alive in repressive countries like China.
"But in the United States, the world's most important incubator for democracy, these tools are largely squandered. It is the message, not the medium, which is the problem. If the content is wrong, it is wrong in all its media forms. All the gorgeous streaming video and razzle-dazzle delivery systems won't make it any better for our civic culture. America's media-driven culture is saturated with entertainment, much of it violent. We've cleaned up the air but toxified the airwaves. A mounting body of scholarship demonstrates the deleterious impact of this material is having on children and on democracy in general." (331)
The volume in which Hume's chapter appears is part of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectives on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organizied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." entertainment, and journalism computers computers children virtual reality present mindedness nationalism Internet global communication community news and journalism nationalism and communication democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors capitalism capitalism, and digital media digital media, and capitalism Internet, and capitalism capitalism, and Internet globalization censorship and ratings news, and censorship news, and time time and timekeeping time, and news television television, and news history and new media presentism nationalism and communication journalism, and nationalism nationalism, and journalism news, and television nationalism, and digital media digital media, and journalism journalism, and digital media gatekeeping news, and entertainment entertainment, and news entertainment, and journalism journalism, and entertainment media effects television, and media effects media effects, and news media effects, and television children children, and media effects media effects, and children entertainment history journalism news children, and media Hume, Ellen Resource Journalism: A Model for New Media 13160 Hunnings, Neville March Film Censors and the Law London George Allen & Unwin, Ltd
1967
The book, published in 1967, is good on motion pictures censorship worldwide. It provides an international context against which to understand developments in the United States where the system of self regulation under the motion picture industry's Production Code had, by 1967, collapsed. motion pictures law censorship and ratings censorship non-USA censorship, foreign motion pictures, and foreign censorship motion pictures, and British censorship, new Hunnings, Neville March Film Censors and the Law 30570 Hunt, Alan Governing Morals: A Social History of Moral Regulation Cambridge, Eng. Cambridge University Press
1999
This book provides a history of moral regulation in the United States and Great Britain from the late seventeenth century to the late twentieth century. Hunt maintains that often the most powerful force for moral regulation comes from the middle class rather than from those who hold government power. He examines the work of vice societies and such opponents of vice as Anthony Comstock. Chapters 3 and 4 deal with changing dynamics of moral regulation in Great Britain and the United States during the late-nineteenth and early twentieth centuries as emphasis shifted from sexual purity to social hygiene. Chapter 5 is entitled "Sexual Purity, Maternal Feminism and Class in Late Victorian Britiain, and the concluding chapter is "Retradtionalising Moral Regulation: Making Sense of Contemporary Moral Politics." Conceptually, Hunt draws on such writers as Michel Foucault. values law censorship and ratings religion sexuality children and media religion women pornography women, and pornography pornography, and women feminism, and pornography feminism pornography, and feminism Great Britain censorship, and Great Britain non-USA Great Britain, and censorship vice societies Society for Reformation of Manners children and media censorship, and children children, and censorship Comstock, Anthony censorship, and print media censorship, and non-print media self-regulation censorship, and self-regulation Foucault, Michel children censorship Hunt, Alan Governing Morals: A Social History of Moral Regulation 24580 Hunt, Dennis Fundamentalists Urge "E.T." Video Boycott; Pre-Order Set Record Los Angeles Times
Sept. 16, 1988
6 (Calendar) 4 This article regards the effort by religious leaders, many angry over Universal Pictures' movie The Last Temptation of Christ (1988), to boycott the video rental of Universal's popular film E.T. (1982). corporations corporations values Christianity advertising, and public relations Universal Pictures propaganda advertising Protestants values motion pictures Hollywood values religion law censorship and ratings censorship Catholic Church boycotts motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Pictures Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill public relations public relations, and Last Temptation Last Temptation, and public relations Last Temptation, and marketing strategies boycotts, and video Last Temptation, and video boycott boycotts, and E.T. video Hunt, Dennis Fundamentalists Urge "E.T." Video Boycott; Pre-Order Set Record 28480 Hunt, Dennis Home Tech/Video: Ken Russell's Movie Available in Four Versions Los Angeles Times
Jan. 31, 1992
F 25F This article notes that Ken Russell's movie Whore (1991), rated NC-17 for theaters, is available in four different versions on video cassette. prostitution entertainment classification video cassette recorders (VCRs) self-regulation sexuality sexuality motion pictures, and sexuality entertainment, home CARA magnetic recording sexuality advertising, and public relations advertising, and motion pictures sex censorship and ratings rating system (U.S.) rating system (U. S.) propaganda public relations propaganda advertising values motion pictures media effects media violence home entertainment magnetic tape law censorship and rating system (U. S.) rating system (U. S.) censorship classification home, and new media home motion pictures and popular culture motion pictures, and sex motion pictures, and violence public relations public relations, and motion pictures public relations, and Whore (1991) motion pictures, and sex sex, and motion pictures lCARA, and rating controversies rating system (U. S.), and controversies NC-17 NC-17, and exploitation advertising, and NC-17 violence, and motion pictures violence motion pictures, and violence motion pictures, and prostitution prostitution, and motion pictures VCRs VCRs, and values values, and VCRs home, and VCRs VCRs, and Whore (1991) values advertising Hunt, Dennis Home Tech/Video: Ken Russell's Movie Available in Four Versions 25150 Hunt, Dennis Home Tech/Video: New Releases from the "Valley" of Clunkers Los Angeles Times
May 21, 1993
F (Calendar) 24F This article involves the home video release of the Russ Meyer movie Beyond the Valley of the Dolls (1969), which had been X rated when it first appeared in movie theaters. Classification and Rating Administration classification self-regulation homosexuality Classification and Rating Administration (CARA) censorship and ratings rating system (U.S.) rating system (U. S.) motion pictures media effects media violence lesbianism substance abuse drug abuse law censorship and rating system (U. S.) rating system (U. S.) censorship classification CARA motion pictures and popular culture X-rated films NC-17 rating system (U. S.), and controversies CARA, and rating controversies Heffner, Richard, and rating controversies Ebert, Roger homosexuality, and motion pictures motion pictures, and homosexuality motion pictures, and homosexuality drug use, and motion pictures motion pictures, and drug use lesbianism, and motion pictures motion pictures, and lesbianism drug use, and motion pictures motion pictures, and drug use violence violence, and motion pictures motion pictures, and violence motion pictures, and violence Meyer, Russ Heffner, Richard, and critics Heffner, Richard, and Roger Ebert CARA, and re-rating films CARA, and video releases rating system (U. S.), and video releases Heffner, Richard Hunt, Dennis Home Tech/Video: New Releases from the "Valley" of Clunkers 24520 Hunt, Dennis "Temptation" Video to Rekindle Fundamentalist Ire? Los Angeles Times
June 2, 1989
6 (Calendar) 13 This article reports that fundamentalists are angry about the home-video release of Martin Scorcese' movie The Last Temptation of Christ (1988). entertainment video cassette recorders (VCRs) corporations corporations entertainment, home values Christianity magnetic recording advertising, and public relations Universal Pictures propaganda advertising Protestants values motion pictures home entertainment Hollywood VCRs magnetic tape values religion law censorship and ratings censorship Catholic Church boycotts home, and new media home motion pictures and popular culture religion religion, and Hollywood Hollywood, and religion motion pictures, and religion Last Temptation of Christ (1988) boycotts, and Last Temptation motion pictures, and boycotts Catholics, and Last Temptation Protestants, and Last Temptation of Christ motion pictures, and anti-religion boycotts, and Universal Universal Pictures, and boycotts censorship, and Last Temptation Bright, Bill public relations public relations, and Last Temptation Last Temptation, and public relations Last Temptation, and marketing strategies boycotts, and video Last Temptation, and video boycott home, and VCRs VCRs, and religion VCRs, and Last Temptation of Christ (1988) Hunt, Dennis "Temptation" Video to Rekindle Fundamentalist Ire? 28440 Hunt, Dennis Video Log: Christie Hefner Attacks Meese Report at Convention Los Angeles Times
Aug. 29, 1986
6 (Calendar) 21 Christie Hefner, the president of Playboy Enterprise, attacks the Meese Commission for inaccuracies and dubious conclusion at the Video Software Dealers' Convention in Las Vagas. sexuality sexuality sexuality pornography Meese Commission Meese Commission, and blacklists Playboy Penthouse Meese Commission, and boycotts Meese Commission, and Playboy Hunt, Dennis Video Log: Christie Hefner Attacks Meese Report at Convention 32100 Hunt, Morton M. The Natural History of Love New York Alfred A. Knopf
1959
. “At no time in history has so large a proportion of humanity rated love so highly, thought about it so much, or displayed such an insatiable appetite for word about it,” wrote Hunt in 1959. It was “a safe guess that never before have so many of the plays, novels, and stories of an era centered about, or at least included, themes of love and sex. And this is true not only of fiction. The news media are crammed with reports of the romances, marriages, infidelities, and quarrels of the famous; in the love affairs of the celebrities, millions of the obscure live out their own dreams.” Hunt made only slight connection between these attitudes and modern media. During the 1950s, erotic materials, either in magazines, home movies and other forms of recording, and even on television became much more readily available in people’s homes. , sexuality sexuality, and news media news and journalism home and new media sexuality, and home home, and sexuality television television, and sexuality sexuality, and television values home Hunt, Morton M. The Natural History of Love 28650 Hunter, Dard Papermaking: The History and Technique of an Ancient Craft New York Alfred A. Knopf
1943
Hunter wrote extensively on the history of papermaking. Many of his earlier books were published on expensive, handmade paper. This informative volume draws material from many of Hunter’s earlier works and was published in commercially affordable format. The book has more than 160 illustration, a bibliography that divides works on into three categories: Oriental, Occidental, and Watermarks. It also has a lengthy “Chronology of Paper and Allied Subjects” (311-74), covering the years from 2700 B.C. to 1942. illustrations Asia paper materials papermaking timelines, and papermaking references, statistics, timelines, maps China China, and papermaking bibliographies, and papermaking printing printing, block Egypt Egypt, and block printing India India, and papermaking non-USA Japan Japan, and papermaking Korea Korea, and papermaking papyrus paper, and papermaking machines parchment patents, and papermaking inventions, and papermaking paper, and watermarks illustrations paper, and wood pulp bibliographies inventions patents print timelines Hunter, Dard Papermaking: The History and Technique of an Ancient Craft 30580 Hunter, James Davison Culture Wars: The Struggle to Define America New York Basic Books
1991
values religion censorship and ratings sexuality violence children and media law books, periodicals, newspapers democracy freedom women motion pictures television children Hunter, James Davison Culture Wars: The Struggle to Define America 4240 Huntington, Samuel P. Political Development and the Decline of the American System of World Order Daedalus
Summer, 1967
96 3 927-29 This piece appeared in an issue of Daedalus devoted to speculation about what would life be like in the year 2000. Huntington says that "future historians will... view the Soviet Union, China, and the United States as expansionist powers during this period, but they will view the U.S. as a highly successful expansionist power and the other two as frustrated expansionist powers.
"This is preliminary hypothesizing that in the year 2000 the American world system that has been developed during the last twenty years will be in a state of disintegration and decay. Just as American influence has replaced European influence during the current period, so also during the last quarter of this century American power will begin to wane, and other countries will move in to fill the gap." nationalism imperialism future and science fiction nationalism and communication future cultural imperialism future, and American power Huntington, Samuel P. Political Development and the Decline of the American System of World Order 28930 Hurley, F. Jack Portrait of a Decade: Roy Stryker and the Development of Documentary Photography in the Thirties Baton Rouge Louisiana State University Press
1972
Portrait of a Decade chronicles the history of the Farm Security Administration photography project from its inception in 1935 to its demise in 1943. Although Hurley devotes a large portion of the book to the photographers' biographies, their field work, and the mounting bureaucracy playging the project, he emphasizes that "the focus is on the personality of Roy Stryker." (viii) He begins his study by examining Stryker's formative years as a youth in Colorado, and later as a student at Columbia University under the tutelage of economics professor Rexford Guy Tugwell. When Tugwell moved to Washington and created the Historical Section -- Photographic as part of the Resettlement Administration's Information Division, he hired Stryker to direct the unit. Hurley contends that although Stryker was not a photographer, he was an ardent proponent in using photography as a tool to educate the public about rural poverty, and hired photographers Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, to document the widespread suffering brought on by the Great Depression. After the Resettlement Administration was transferred into the Department of Agriculture and renamed the Farm Security Administration, Hurley notes that Stryker instructed his photographers to focus on the success of the New Deal relief programs, resulting in photographs that depicted a more positive image of rural America. Hurley's last two chapters address the use of FSA photographs in the print media, Stryker's dispute with Congress regarding the validity of the photography project during the early years of World War II, and his resignation from government work in 1943.
--Michele Kroll reform Roosevelt, Franklin D. photography Kroll, Michele photography and visual communication photography, documentary photography, and New Deal Roosevelt, Franklin, and photography presidents, and new media Farm Security Administration, and photography photography, and Farm Security Administration Stryker, Roy photography, and reform reform, and photography Roosevelt, Franklin administration photography, and magazines magazines, and photography Lange, Dorothea Rothstein, Arthur Evans, Walker Tugwell, Rexford G. magazines Hurley, F. Jack Portrait of a Decade: Roy Stryker and the Development of Documentary Photography in the Thirties 34200 Hurwitz, Roger Who Needs Politics? Who Needs People? The Ironies of Democracy in Cyberspace Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
101-12 Hurwitz writes that "the heroic landscape of cyberspace as an electronic frontier or commons should be repainted as an area contested by state and society or perhaps as a shopping mall where politics does not matter until one's credit care is rejected. Cyberspace does, however, resemble a frontier in one important respect: It lacks a tradition of governance that can be generalized to the world beyond it." (110)
The volume in which Hurwitz's chapter appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality community democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors Internet, as frontier Internet Hurwitz, Roger Who Needs Politics? Who Needs People? The Ironies of Democracy in Cyberspace 32650 Huston, John An Open Book New York Alfred A. Knopf
1980
Huston discuss his career in motion pictures, including his movie Reflections in a Golden Eye, about a homosexual army officer starring Marlon Brando and Elizabeth Taylor. Huston talks about how he used a special coloring technique in filming this movie to give the picture a golden tint. motion pictures, and sexuality sexuality , motion pictures motion pictures, and sexuality sexuality sexuality, and motion pictures motion pictures, and John Huston motion pictures, and homosexuality Reflections in a Golden Eye (1967) color motion pictures, and color color, and motion pictures Huston, John An Open Book 32530 Hutchings, John B. Color in Plants, Animals and Man Kurt Nassau, ed. Color for Science, Art and Technology Amsterdam Elsevier
1998
221-46 This essay notes that color is important in creating a sexual environment for many animals, including man. Hutchings devotes attention to melanin skin pigmentation (241-43). He notes that "areas of sexual interest are accentuated by higher concentrations of melanin. When looking at an object, our eyes do not remain on one fixed area but tend to scan over the surface. When we look at a face we seek to communicate and gain information; that is, we look more at the eyes and mouth, those parts which contain higher melanin concentrations. We assist nature in emphasizing particular regions of sexual interest. For example, the larger fleshier lips of the female are further accentuated by the use of lipstick. The routine has been practiced for at least 4000 years. From time to time in different cultures, emphasis has been placed on different features as releasers of sexual interest. An example is the evolution of protruding buttocks among the Hottentot and Bushmen females." (242-43) , color color, and science color, and reproduction color, and art color, and sexuality sexuality, and color sexuality color, and sexual desire Hutchings, John B. Color in Plants, Animals and Man 10730 Hutchinson, Thomas H. Here is Television: Your Window on the World New York Hastings House
1946
television, and history of television television, and origins Hutchinson, Thomas H. Here is Television: Your Window on the World 1610 Hutchison, Harold F. The Poster: an illustrated history from 1860 [sic] New York Viking Press, A Studio Book
1968
This work covers the history of the poster in Europe and America. It devotes two early chapters to posters in France from 1860-1900 and in Britain and the U.S. during the same period. Then comes “The New Century, 1900-1913,” and “The First World War 1914-1919.” There follows a chapter on the 1920s, one on “The vintage[sic] Thirties in Europe,” one on “Propaganda, 1939-1946,” and “The Poster International 1947-1967” (short sections are given to individual countries). The final chapter deals with “New Trends.” The virtue of this work is that it discusses many artists and gives the reader an idea of what happened not only in the United States but in Europe. Its drawback stems from its broad coverage -- nothing much is covered in depth. posters, late 19th century photography public relations advertising communism war non-USA World War II World War I propaganda posters photography and visual communication posters, and history of posters, and France (late 19th century) posters, and Great Britain posters, and United States posters, and Europe (1930s) propaganda, and posters posters, international World War I, and posters World War II, and posters posters, and propaganda posters, and Europe posters, and France Europe Great Britain France Europe, and posters Great Britain, and posters France, and posters posters, and communism communism, and posters posters, and United States advertising and public relations Hutchison, Harold F. The Poster: an illustrated history from 1860 [sic] 39760 Huxley, Aldous The Doors of Perception New York Harper & Brothers
1954
Huxley writes abou the influence of "mescalin, the active principle of peyote" on perception. Among the influences were the ways in which one perceives colors. "The change which actually took place in that world was in no sense revolutionary. Half an hour after swallowing the drug I became aware of a slow dance of golden lights. A little later there were sumptuous red surfaces swelling and expanding from bright nodes of energy that vibrated with a continuously changing, patterned life. At another time the closing of my eyes revealed a complex of gray structures, within which pale bluish spheres kept emerging into intense solidity and, having emerged, would slide noiselessly upwards, out of sight. But at no time were there faces or forms of men or animals. I saw no landscapes, no enormous spaces, no magical growth and metamorphosis of buildings, nothing remotely like a drama or parable. The other world to which mescalin admitted me was not the world of visions; it existed out there, in what I could see with my eyes open. The great change was in the realm of objective fact. What had happened to my subjective universe was relatively unimportant.
"I took my pill at eleven. An hour and a half later, I was sitting in my study, looking intently at a small glass vase. The vase contained only three flowers -- a full - 16/17 blown Belle of Portugal rose, shell pink with a hint at every petal's base of a hotter, flamier hue; a large magenta and cream-colored carnation; and, pale purple at the end of its broken stalk, the bold heraldic blossom of an iris. Fortuitous and provisional, the little nosegay broke all the rules of traditional good taste. At breakfast that morning I had been struck by the lively dissonance of its colors. But that was no longer the point. I was not looking now at an unusual flower arrangement. I was seeing what Adam had seen on the morning of his creation -- the miracle, moment by moment, of naked existence." (16-17)
Huxley continues: "Visual impressions are greatly intensified and the eye recovers some of the perceptual innocence of childhood, when the sensum was not immediately and automatically subordinated to the concept. Interest in space is diminished and interest in time falls almost to zero," he writes. (25) "Mescaline raises all colors to a higher power and makes the percipient aware of innumerable fine shades of difference, to which, at ordinary times, he is completely blind. It would seem that, for Mind at Large, the so-called secondary characters of things are primary." (27)
Huxley believed that "humanity at large will ever be able to dispense with Artificial Paradises seems very unlikley. Most men and women lead lives at the worst so painful, at the best so monotonous, poor and limited that the urge to escape, the longing to transcend themselves if only for a few moments, is and has always been on of the principal appetites of the soul. Art and religion, carnivas and saturnalia, dancing and listening to oratory -- all these have served, in H. G. Wells's phrase, as Doors in the Wall. And for private, for everyday use there have always been chemical intoxicants...." (62) censorship avant garde art color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s color, and sensation color, and drug culture values values, and color color, and values media effects color, and media effects media effects, and color Huxley, Aldous metaphors metaphors, and articial paradise metaphors, and Doors in the Wall Huxley, Aldous The Doors of Perception 22500 Hyer, Marjorie Evangelical Broadcasters Define Role in Politics Washington Post
Feb. 4, 1984
B 6B See also: media See also: violence See also: sexuality This article notes that the 4,000 Christian evangelicals that attended the National Religious Broadcasters 41st annual meeting in Washington, D.C., discovered that the program focused strongly on politics. President Ronald Reagan addressed the group and condemned the American Civil Liberties Union, child pornography, infanticide, abortion, and substance abuse. conservatives values Christianity Reagan, Ronald presidents, and new media Reagan administration values sexuality sexuality nudity motion pictures mass media media effects crime values religion law censorship and ratings censorship Catholic Church pornography media effects motion pictures and popular culture motion pictures, and pornography Commission on Obscenity and Pornography (1970) media effects, and pornography pornography, and media effects mass media, and pornography pornography, and opponents pornography, and crime crime, and pornography pornography, and conservatives conservatives, and pornography censorship, and pornography pornography, and censorship Reagan administration, and pornography Reagan, Ronald, and nudity nudity, and Ronald Reagan Reagan, Ronald, and pornography Reagan, Ronald, and secular humanism Reagan, Ronald, and liberalism pornography, and evangelicals evangelicals, and pornography religion, and pornography pornography, and religion Reagan, Ronald, and religion Catholics, and pornography pornography, and Catholics critics values television radio television, and values radio, and values Hyer, Marjorie Evangelical Broadcasters Define Role in Politics 4390 Ide, Thomas Ranald The Technology Günter Friedrichs and Adam Schaff, eds. Microelectronics and Society: For Better or for Worse: A Report to the Club of Rome Oxford, Eng. Pergamon Press
1982
37-88 Here is an accessible and reasonably brief history of the development of microelectronics starting with vacuum tubes, through the transistor, integrated circuit, and microprocessor. The author relates developments to information and society. computers microprocessing transistors, and integrated circuits fiber optics communication revolution second industrial revolution communication revolution archives materials materials fiber optics communication revolution, and second industrial revolution satellites computers and the Internet computers, personal computers microelectronics libraries information technology libraries, and information storage Information Age computers and the Internet aeronautics and space communication satellites, and microelectronics microelectronics, and history of optical fibers microprocessors computers, micro transistors integrated circuits vacuum tubes information storage information processing second industrial revolution information technology, and finance computers, personal personal computers microelectronics revolution Club of Rome communication revolution Ide, Thomas Ranald The Technology 41620 Iles, George Flame, Electricity and the Camera: Man's Progress from the First Kindling of Fire to the Wireless Telegraph and the Photography of Color New York Doubleday and McClure
1900
This book contains a number of interesting observations. For example, Iles compares the flame to electricity: "Flame, the old time servant, is individual; electricity, its successor and heir, is collective. Flame sits upon the hearth and draws a family together; electricity, welling from a public source, may bind into a unit all the families of a vast city, because it makes the benefit of each the interest of all." (259) motion pictures electricity cameras photography color color, and photography photography, and color electricity, and motion pictures motion pictures, and electricity electricity, and community community, and electricity community Iles, George Flame, Electricity and the Camera: Man's Progress from the First Kindling of Fire to the Wireless Telegraph and the Photography of Color 3360 Immel, A. Richard The Automated Office: Myth Versus Reality Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
312-21 This piece first appeared in May, 1983 in Popular Computing. The author notes that while word processing has gained acceptance in the office, that video conferencing and electronic mail have not. Immel calls for a reexamination of the idea of office "productivity." computers email labor office, and information technology information technology Information Age computers and the Internet electronic mail video conferencing word processing information processing information technology, and office electronic media office, and automation office, and computers office Immel, A. Richard The Automated Office: Myth Versus Reality 8700 Information Infrastructure Project, John F. Kennedy School of Government Information Infrastructure Sourcebook: Version 4.0 (3 Volumes) [Cambridge, MA] Information Infrastructure Project, ... John F. Kennedy School of Government, Harvard University
1994
This Sourcebook is divided into five sections and published in three volumes.
Volume I: Part 1 -- Historical Documents. Arranged in reverse chronological order.
Part 2 -- Vision Statements and Position Papers. In alphabetical order by source.
Part 3 -- Program and Project Descriptions. Alphabetically by source.
Volume II: Part 4 -- Reports. Alphabetically by source.
Volume III: Part 5 -- Pending Legislation. By bill number.
This version of the Sourcebook, the first to be published in three volumes, “is designed to document policy development for information infrastructure and to serve as a compact reference for planners and policymakers in all sectors.” Its creators hope that the sourcebook will continue to elicit documents that might have been missed. nationalism References, Statistics, Timelines, Maps labor office office, and new media office infrastructure information technology Information Age nationalism and communication reference works, instrastructure infrastructure Information Infrastructure Project (Harvard) infrastructure, and information information technology, and infrastructure reference works Information Infrastructure Project, John F. Kennedy School of Government Information Infrastructure Sourcebook: Version 4.0 (3 Volumes) 10740 Inglis, Andrew F. Behind the Tube: A History of Broadcasting Technology and Business Boston Focal Press
1990
television, and history of television television, and origins Inglis, Andrew F. Behind the Tube: A History of Broadcasting Technology and Business 6260 Inglis, Ruth A. Freedom of the Movies: A Report on Self-Regulation from The Commission on Freedom of the Press Chicago University of Chicago Press
1947
This book was a special report from the Commission on Freedom of the Press. Inglis begins by saying that "the movies are entering a new phase in their development as a mature organ of mass communication." She then examines past efforts to regulate film technology, and the self-regulation that the movie industry adopted. The book ends with recommendations for making film socially and artistically responsible, and more central to national and international life. Following this work, a series of technological, legal, and leadership changes helped to open the screen to a wider range of entertainment. self-regulation Production Code PCA Production Code (motion pictures) Production Code (motion pictures) First Amendment freedom law values religion law censorship and ratings regulation Production Code (1930) motion pictures motion pictures censorship, and motion pictures motion pictures, and censorship freedom of the press motion pictures, and freedom regulation, and motion pictures motion pictures, and self-regulation Production Code Administration (PCA) Hays, Will H. Johnston, Eric Breen, Joseph censorship Hutchins Commission Commission on Freedom of the Press motion pictures, and First Amendment First Amendment, and motion pictures motion pictures, and freedom Inglis, Ruth A. Freedom of the Movies: A Report on Self-Regulation from The Commission on Freedom of the Press 670 Innis, H. A. Harold Adams The Press: A Neglected Factor in the Economic History of the Twentieth Century London The Athlone Press
[1952]
Innis delivered this 48-page monograph as the Stamp Memorial Lecture at the University of London. Although he was concerned primarily with the newspaper press, he does discuss other media (e.g., radio, cinema, the use of electricity).
Innis concentrated “on the period in which industrialization of the means of communication has become dominant through the manufacture of newsprint from wood and through the manufacture of the newspaper by the linotype and the fast press.” He also considers the increased speed brought to communication by electricity. He discussed the dramatic decline in the cost of newsprint during the last quarter of the nineteenth century. Other changes that transformed newspapers included faster presses, the introduction of the linotype in 1886, and methods of reproducing illustrations -- “zinco and the half tone facilitated reproduction of photographs after 1880.” During the early 1890s, the multi-color rotary press with pictures was introduced, and by 1900 almost all American daily newspapers were illustrated.
Newspapers, fearing increased costs of newsprint, began to organize in the late 1890s, and with their control of publicity were able reduce or abolish tariffs on newsprint and mechanical pulp from Canada. With the increased production of low-priced newsprint, the per capita consumption of paper in the United States increased from 25 pounds in 1909, to 41 pound in 1920, to 59 pounds in 1930. Newspaper circulation increased substantially. With the appearance of radio as a competitor for advertising, newspaper turned increasingly to advertising for revenue.
Innis offered several disparaging observations about journalism and the news. For example, according to Escott, the journalist “increasingly seems to think that his duty to his paper requires the discovery of a new crisis or a new era.” The modern press, Innis believed, emphasized crisis and discontinuity, and much of the responsibility for this characteristic of news (especially after 1900) fell to the influence of advertising. Running parallel to this development was the increased use of illustrations and photographs (particularly during World War I). Cinema, “which at its central roots sprang from the methods of discontinuity,” also contributed to a sense of disjointedness. Publishers appealed more and more to the lowest common denominator with tabloids, gossip and stories about movies stars, and with increased use of feature stories. Comics became the “lifeblood of the entire syndicate business.” The influence of editorial writers declined. Coverage of foreign news was poor. While in Europe in the early twentieth century, the book still dominated culture, in the United States the situation was different. “By the newspaper, democracy had completely expelled the book from the normal life of the people.”
Innis commented on radio. No doubt thinking of Franklin D. Roosevelt, he said that radio tended to favor the individual candidate over the party or group in politics. He believe that the introduction of radio during the 1920s, combined with expansion and innovation in the press, made public opinion unstable.
Innis was dubious about the impact of new communication technology on public opinion. “Technological advance in communication implies a narrowing of the range from which material is distributed and a widening of the range of reception in which large numbers receive, but are unable to make, any direct response. Those on the receiving end of material from a mechanized central system are precluded from participation in healthy, vigorous, and vital discussion. Instability of public opinion which follows the introduction of new inventions in communication designed to reach large numbers of people is exploited by those in control of the inventions.” The emphasis on “simplicity,” he argued, also make governing more complex. In general, the “disequilibrium created by the lumpy character of technological change in communication strikes at the heart of the economic system and has profound implications for the study of business disturbance.”
Innis argued here (and elsewhere in his private papers) that “rapid extensions of communication facilities” led to greater instability and greater “savagery” in war. In this lecture, he indicates that he drew on Sir Liddell Hart for this insight.
Innis concluded by contending that “freedom of the press as guaranteed by the Bill of Rights in the United States has become the great bulwark of monopolies of time.” technology nationalism photography advertising, and public relations propaganda public relations public opinion print printing preservation nationalism and communication motion pictures communication revolution linotype journalism news and journalism history, and new media materials community democracy freedom news and journalism non-USA newspapers news history general studies press radio motion pictures and popular culture electricity linotype machines newspapers, and illustrations newspapers, and photography newspapers color, and multi-color rotary press Canada paper newsprint political economy Bill of Rights freedom of the press Europe comic books democracy and media communication revolution technology and society Zinco half tones history, and newspapers color photography and visual communication paper, and wood pulp printing press, and electricity electricity, and printing press news, and electricity electricity, and news advertising, and newspapers newspapers, and advertising news, and crises news, and advertising journalism, and crises news, and motion pictures motion pictures, and discontinuity democracy, and new media comic books nationalism, and radio radio, and nationalism public opinion, and new media Hart, Lindell Innis, Harold, and Lindell Hart journalism Innis, Harold advertising materials Innis, H. A. Harold Adams The Press: A Neglected Factor in the Economic History of the Twentieth Century 11700 Innis, Harold A. The Bias of Communication Toronto University of Toronto Press
1951, 1964
Marshall McLuhan wrote the Introduction to the 1964 edition of this work. McLuhan notes Innis’s influence in his own The Gutenberg Galaxy (1962). Of Innis’s work, McLuhan says that “each sentence is a compressed monograph.” The Bias of Communication is a collection of revised papers that had been published elsewhere. The volume begins with “Minerva’s Owl,” which was Innis’s presidential address to the Royal Society of Canada in 1947. There follows “The Bias of Communication,” a paper originally presented at the University of Michigan in April, 1949, and “A Plea for Time,” which was delivered at the University of New Brunswick in 1950. Then “The Problem of Space,” and “Industrialism and Cultural Values,” the latter being a paper read at the 1950 annual meeting of the American Economic Association in Chicago. “Technology and Public Opinion in the United States” was given at the University of Michigan in April, 1949. Finally, “‘A Critical Review’” contains extracts from a paper given at the Conference of Commonwealth Universities in Oxford in July, 1948. Two appendices follow: D. Q. Innis’s “A Note of Communication and Electromagnetic Resources in North America,” and “Adult Education and Universities.” technology advertising, and public relations time and timekeeping time propaganda public relations print communication revolution journalism timekeeping, and clocks news and journalism non-USA time space (spatial) technology and society communication revolution printing books, periodicals, newspapers Catholic Church telegraph writing Pulitzer, Joseph Egypt Greece Germany Great Britain calendars timekeeping Byzantine Empire Bible advertising Industrial Revolution news newspapers McLuhan, Marshall values Innis, Harold A. The Bias of Communication 34590 Innis, Harold A. Changing Concepts of Time Lanham, MD Rowman & Littlefield Publishers, Inc.
2004
1952 This work was the last book written by the Canadian political economist, Harold A. Innis. It was originally published in 1952 by the University of Toronto Press. In this, the 2004 edition, James W. Carey contributes an Introduction. Innis covers the following topics: 1) The strategy of culture; 2) Military implications of the American constitution; 3) Roman law and the British Empire; 4) The Press, a neglected factor in the economic history of the twentieth century; and 5) Great Britain, the United States, and Canada. nationalism time and timekeeping writing time history and new media preservation power history information storage history, and new media non-USA history Innis, Harold McLuhan, Marshall political economy present mindedness history, break with communication, and empire nationalism and communication Innis, Harold, and nationalism nationalism, and Harold Innis time space (spatial) power, and temporal bias power, and spactial bias alphabet, and technology writing, and technology alphabet history, and present mindedness Wiener, Norbert military communication news and journalism Great Britain Canada Innis, Harold A. Changing Concepts of Time 9850 Innis, Harold A. Empire and Communication Oxford Clarendon Press
1950, 1972
This book contains the first three chapters of a large History of Communication that Innis wrote before his death in 1951. Marshall McLuhan notes in his Foreword to the 1972 edition of this book that Innis "saw media, old and new, not as mere vertices at which to direct his point of view, but as living vortices of power creating hidden environments that act abrasively and destructively on older forms of culture." Innis devotes chapters to Egypt, Babylonia, “The Oral Tradition and Greek Civilization,” and to “The Written Tradition and the Roman Empire.” The final two chapters treat “Parchment and Paper,” and “Paper and the Printing Press.”
-SV

Innis believed that communication “occupies a vital place” in the history of civilization and the media of communication can be classified along two dimensions – time and space. The more “permanent” the medium the greater the stability across time, the less permanent but more easily transported allow for greater spread of communication across space.
“Media that emphasize time are those that are durable in character, such as parchments, clay and stone. The heavy materials are suited to the development of architecture and sculpture. Media that emphasize space are apt to be less durable and light in character, such as papyrus and paper. The latter are suited to wide areas in administration and trade. The conquest of Egypt by Rome gave access to supplies of papyrus, which became the basis of a large administrative empire. Materials that emphasize time favour decentralization and hierarchical types of institutions, while those that emphasize space favour centralization and systems of government less hierarchical in character. Large-scale political organizations such as empires must be considered from the standpoint of two dimensions, those of space and time, and persist by overcoming the bias of media which overemphasize either dimension. They have tended to flourish under conditions in which a civilization reflects the influence of more than one medium and in which the bias of one medium toward decentralization is offset by the bias of another medium toward centralization.”
--Mark Tremayne R & D nationalism time and timekeeping time print preservation materials research and development war cultural imperialism history, and new media materials news and journalism war non-USA history geography general studies nationalism and communication time space (spatial) imperialism Innis, Harold Tremayne, Mark cultural imperialism Egypt Rome Babylonia printing presses printing press paper parchment Greece McLuhan, Marshall military communication nationalism, and new media military, and new media, history, break with history, and printing history, and newspapers newspapers, and history printing printing, and history newspapers, history materials newspapers news Innis, Harold A. Empire and Communication 19410 Innis, Harold A. A History of Communication [unpublished manuscript]
[1952]
The first three chapters of this 1,300 unpublished "History of Communication" were published in Innis's Empire and Communiation (1950). There have been at least three efforts since Innis's death in 1952 to publish the entire work but without success. The manuscript is much like a first draft and need substantial editing. The work discusses new technologies. For example, Innis devotes much space to the invention of paper and what its spread meant to civilization. The work comes up to the early twentieth century and the manuscript with related notes in the University of Toronto Archives give a good indication of the breadth of Innis's reading. This material is located in Accession No. B72-0003/ Boxes 015, 016, 017, 018, Harold A. Innis Papers, University of Toronto Archives, Toronto, Ont., Canada. nationalism time and timekeeping time print archives preservation materials cultural imperialism history, and new media materials news and journalism non-USA history geography general studies nationalism and communication time space (spatial) imperialism Innis, Harold cultural imperialism Egypt Rome Babylonia printing presses printing press paper parchment Greece McLuhan, Marshall history, break with history, and printing history, and newspapers newspapers, and history printing printing, and history newspapers archives history materials news Innis, Harold A. A History of Communication [unpublished manuscript] 3330 Innis, Harold A. Printing in China in the 19th and 20th Century Continuum: The Australian Journal of Media & Culture
1993
7 1 132-39 See filed under "Shoesmith, Brian" and "Introduction to Innis' 'History of Communication'." These are edited excerpts from Harold A. Innis's unpublished "History of Communication." Asia non-USA Innis, Harold Innis, Harold, and History of Communication China China, and printing China, and Harold Innis Innis, Harold, and China Innis, Harold A. Printing in China in the 19th and 20th Century 680 Inose, Hiroshi and John R. Pierce Information Technology and Civilization New York W. H. Freeman and Company
1984
See also: office This volume is an outgrowth of the Club of Rome’s Tokyo Conference in October 1982. Pages 1-29 offer a brief history of communication and civilization from the development of language through solid state technology and Claude Shannon’s information theory. Koji Kobayashi, Chairman of Nippon Electric Company, wrote in the Foreword:
“The Club of Rome, thrust into the limelight in 1972 by its first report, The Limits of Growth, has become well-known as an international group studying the future of mankind and the shape of modern civilization. Although the club holds meetings annually, it was not until the 1979 Berlin Conference that microelectronics was put on the agenda. As one with a long career in the electronics industry, I was a little taken aback by the idea that progress in my field might create problems of global proportions for mankind. After listening to the discussions at the conference my dismay was intensified: Most of the participants were pessimistic about the microelectronic future, believing it would create unemployment and deprive people of purposeful lives.”
During the 1960s, Kobaysahi became interested in the future of knowledge and information industries. He concluded that developments in electronics “would bring about an integration of computers and communications and that information would become as important a resource for human civilization as material or energy resources.”
Hiroshi Inose, Professor of Engineering at the University of Tokyo, and Dr. John R. Pierce, Professor of Engineering Emeritus of the California Institute of Technology, presented the results of the Tokyo Conference which considered the current and future cultural and social ramifications of information technologies.
Discussions were of a trilateral nature. The Americans and the Japanese were enthusiastic about microelectronics and other new information technology. The Europeans were relatively late getting into these areas and skeptical about their benefits. The developing nations lacked an industrial base but wanted the industrialized nations to transfer their technology. computers information theory communication revolution labor future and science fiction Third World non-USA Information Age general studies Club of Rome Shannon, Claude Nippon Electric Company electronic media information processing information age microelectronics communication revolution Japan Europe future labor, and microelectronics computers and the Internet Third World, and new media Inose, Hiroshi and John R. Pierce Information Technology and Civilization 4980 [Insull, Samuel Edited with additional information by Larry Plachno The Memoirs of Samuel Insull: An Autobiography Polo, IL Transportation Trails
1992
This book contains material pertaining to Samuel Insull and the Peabody Coal Company, the Century of Progress Exhibition in 1933, George Cardinal Mundelein, and Benito Mussolini. In these pages, published before World War II, Insull wrote that after a meeting with the Italian dictator that "I left the Venezie Palace with the feeling that it had been my privilege to meet one of the great statesmen of Europe." Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories networks electricity autobiography Century of Progress (1933-34) Mussolini, Benito Mundelein, George Cardinal Peabody Coal Company networks, electrical public utilities World Fairs World Fairs, and Century of Progress [Insull, Samuel Edited with additional information by Larry Plachno The Memoirs of Samuel Insull: An Autobiography 37780 Irwin, Wallace Motion Picture Sonnets Life
April 20, 1916
67 1747 753 Wallace Irwin laments the negative impact that movies have had on great literature in these sonnets.

"How was thine English wasted, O my Bard!
What thou expressed in pentametric airs,
Chanting in verse life's comedies and cares,
Lo! Mary Pickford, in the world's regard,
By looking like a picture postal-card,
Can quite accomplish. Here how laughter blar
When Charley Chaplin, falling down the stairs,
Kills Falstaff's jokes -- and kills them very hard! (my emphasis)
....
II
....
"Thou needst not know the art that summons ghosts,
Shaken from Hell by mastery of sound,
The gift of words that conjures all the hosts
Of restless Acheron from out of the ground --
Nay, hire some actors, choose a spot out West
And let the camera do all the rest.
III
"Thy plays, O Will, were acted on the boards
Of that old Globe whose stage was bleak and bare:
Belasco's self could not improve thee there --
Thy words made pictures. And those noble Lords
Who heard brave Marc address the Roman hordes
Saw Ceasar's City, pile on pile, upbear
Arrogant domes and pinnacles in air
Which thou madest living by the gift of words!

"To-day there's too much noise, too little said.
Accents grow thinner, dialogues more terse.
'Step lively, please!' oft fuddles Thespis' head
If she but dote a moment on her verse.
Come, Poet, to the movies! Here's a seat
Now lets see life expressed -- by hands and feet!" (my emphasis)

--Wallace Irwin theater stage fame celebrity actors acting motion pictures motion pictures, and celebrity culture celebrity culture celebrity, and motion pictures personality personality, and motion pictures motion pictures, and personality fame, and motion pictures motion pictures, and fame motion pictures, and stars photography and visual communication photography, and celebrity culture celebrity, and photography photography, and fame fame, and photography personality, and photography photography, and personality Irwin, Wallace Pickford, Mary motion pictures, and Mary Pickford motion pictures, and Wallace Irwin theater and stage motion pictures, and stage stage, and motion pictures critics critics, and motion pictures motion pictures, and critics photography Irwin, Wallace Motion Picture Sonnets 32860 Itten, Johannes trans. by Ernest van Haagen The Art of Color: The Subjective Experience and Objective Rationale of Color New York Van Nostrand Reinhold Company
1961, 1973
“The deepest and truest secrets of color effect are … invisible even to the eye, and are beheld by the heart alone,” wrote this influential theorist in the Bauhaus school in Weimar, Germany. “The essential eludes conceptual formulation.” censorship avant garde art , color freedom color, and freedom color, and 1960s art, and color color, and art avant garde, and color color, and avant garde censorship, and color color, and censorship censorship and ratings color, and prejudice against sexuality color, and sexuality sexuality, and color color, color, and 1960s color, and sensations color, and light color, and technology color, and language color, and communication color, and psychology color, and Bauhaus School Bauhaus School, and color Bauhaus Itten, Johannes trans. by Ernest van Haagen The Art of Color: The Subjective Experience and Objective Rationale of Color 1620 Ivins, William M. Jr. Notes on Prints New York Da Capo Press
1967
The text of this book runs 185 pages. Every other page has a picture of a print (black and white only) and then a page discussing that print. This work complements Ivins’ earlier book on Prints and Visual Communication. photography non-USA photography and visual communication prints Ivins, William M. Jr. Notes on Prints 1630 Ivins, William M. Jr. Prints and Visual Communication Cambridge Harvard University Press
1953
This seminal book is a thoughtful work that encourages readers to think about the importance of visual communication in new ways. Ivins argues that “the pervasion of ways of making printed pictures -- in other words of making exactly repeatable pictorial statements” in the first half of the fifteenth century was a development of profound historical importance, rivaling (and perhaps surpassing) Gutenberg’s invention of printing with movable metal type in significance. Prints added a visual component to communication and that they were exactly the same provided a powerful new way of transmitting knowledge. Before, when one had to rely primarily on words, descriptions of art and nature were often highly imprecise. But making prints themselves was also imprecise. Often the engraver did not have first-hand experience with the object he represented. His rendering was at best an approximation which did not reveal the subtleties of a work of art or of nature. “Thus whenever we read a book, especially about art, archaeology, or aesthetic theory, written prior to about [sic] the beginning of the first world war, it is well to ask ourselves to what extent the writer had both a dependable memory and a first hand acquaintance with the objects he referred to, to what extent he knew them through representations, and what sort of reproductions he depended on.”
All this changed with photograph. “With the nineteenth century we come to a period in which the printed picture may be said to have come of age....The most important single development in the century was the discovery and exploitation of photography and photographic process....” Ivins said that “There have been many revolutions in thought and philosophy, in science and religion, but I believe that never in the history of men has there been a more complete revolution than that which has taken place since the middle of the nineteenth century in seeing and visual recording. Photographs give us visual evidence about things that no man has ever seen or ever will see directly. A photograph is today accepted as proof of the existence of things and shapes that never would have been believed on the evidence of a hand-made picture.... Photography, although the first tentative steps towards it were taken in the eighteenth century, did not play any important role until the middle of the [nineteenth] century, after which it brought a catastrophic revolution, the extent of which is not even today fully recognized.” Continuing, Ivins said “I have an idea that a very good argument could be put up for the claim that it is through photography that art and science have had their most striking effect upon the thought of the average man of today.” Not only has photography “vastly extended the gamut of our visual knowledge, but through its reproduction in the printing press, it has effected a very complete revolution in the ways we use our eyes and, especially, in the kinds of things our minds permit our eyes to tell us.... The photograph in its way did as much for the study of art as the microscope had done for the study of biology.”
Estelle Jussim, in Visual Communication and the Graphic Arts ( 1974), attempted to revise Ivins's interpretation, particularly regarding the ability of photographs to capture reality without bias. Jussim also suggested that a different vocabulary would make Ivins’s thesis more appropriate. wood engraving photography seeing at a distance print preservation modernism communication revolution history, and new media materials non-USA history visual communication printing printing press photography and visual communication iconography icons history communication revolution visual communication, and new way of seeing Gutenberg, Johann printing press printing block printing iconography icons history, break with woodcuts art museums photography and visual communication, and art photography and visual communication, and science visual communication, and science engraving photography and visual communication, and reality Jussim, Estelle books, periodicals, newspapers new way of seeing prints visual communication materials Ivins, William M. Jr. Prints and Visual Communication 41430 Jaccaci, August F. The Father of Modern Illustration: Daniel Vierge Urrabieta Century Illustrated Magazine
June 1893
46 2 186-203 The author argues that Vierge towers over modern illustrators. (188) During the previous 30 years, Jaccaci says, "the art of illustration ... has undergone a complete revolution, and, being transformed to fit new necessities, it has branched out into many new channels more or less directly connected with journalism." (188) Illustrations set "forth in a clear manner those aspects of scenes and incidents that no word-description, however elaborate, can give...." (188) There is great demand for illustration, although the demand reflects certain lamentable trends. "But the demand is that of an age hurried and utilitarian, and the supply, taking on a corresponding form, impresses the observer by it superficiality and cheapness, in place of substance and carefully wrought results involving more time and a finer quality of labor; by its sensationalism and its tawdriness, in place of artistic refinement. These pictures therefore not only portray events of the day, but are a significant evidence of the tendencies of an age which cares less to be touched by beauty and sincerity than to be tickled by novelty, and by a sort of ready-made pettiness." (188) The author maintains that "illustration may justly be called a modern art." (188) sensationalism illustrations illustrations news and journalism pictorial journalism journalism, pictorial journalism, and illustrations critics critics, and pictorial journalism illustrations, and Daniel Vierge Urrabieta posters illustrations, and posters advertising and public relations advertising, and illustrations advertising, and posters journalism, and sensationalism illustrations, and sensationalism posters, and sensationalism sensationalism, and illustrations new way of seeing new way of seeing, and illustrations advertising journalism Jaccaci, August F. The Father of Modern Illustration: Daniel Vierge Urrabieta 1030 Jackman, Herbert B. The Union Educational Film J. B. S. Hardman and Maurice F. Neufeld, eds. The House of Labor: Internal Operations of American Unions Englewood Cliffs, NJ; Westport, CT Prentice Hall; Greenwood Press
1951; 1970
471-73 See also: office Jackman, director the film division of the United Auto Workers, details the number of labor films available in 1950 and lists the UAW equipment available for showing films. He noted that about 30 16mm sound films had been produced by various U.S. labor unions. Those films, and hundreds of others that were of interest to labor, were available from film libraries, including four big libraries operated by unions: the UAW-CIO Film Library, the CIO Film Division, the ILGWU Film Library, and the Amalgamated Clothing-Textile Workers Film Library. The UAW library had 650 prints of 400 titles. Local UWA unions owned 195 sound projectors and about 375 locals used films regularly for meetings, classes and other occasions, according to Jackman. The UAW also distributed films to schools, churches, public libraries and community groups. “The importance of showing films with a labor message outside our unions can hardly be overestimated. Many local unions are called upon to bring their projectors and films to the rescue of a community program.” During World War II, Jackman noted, the UAW worked with the 16mm National Advisory Committee and more than 15 million people saw films presented under the auspices of the UAW. He noted that 450 prints of the cartoon Brotherhood of Man had been sold to film libraries, schools and other places. The UAW was also working in 1950 on Workers’ Security Through Collective Bargaining, a report on collective bargaining demands prepared using a new “automatic sound filmstrip” medium.
--Phil Glende motion pictures Glende, Phil labor labor, and 16mm film 16mm film, and labor motion pictures and popular culture motion pictures, and labor labor labor, and motion pictures labor, and education films (1950) labor, and United Auto Workers United Auto Workers, and education films (1950) 16mm 16mm film Jackman, Herbert B. The Union Educational Film 38570 Jackson, Edward C. Beautiful Evil North American Review
Nov. 1897
165 492 638-39 This article attacks the modern "hero," the villain who is portrayed attractively in sensational literature. "For this evil influence of low sensational literature the newspaper must share the responsibility with the cheap novel," Jackson writes. (638) "The typical rascal is never the hero that romance, whether in the dime novel or the newspaper, pictures him. His intelligence is, as a rule, of a very low order, confined to keenness and cunning, which act in the narrow circle of first preying upon his victims and then trying to outwit justice. Compare it with the intelligence which works for good. His courage is generally greatly overestimated. He rarely fights except when he has the overwhelming advantage, or when he is driven into a corner. His magnanimity and amiability -- qualities especially credited to him by writers and readers of the low romantic school -- are myths. They are no part of his business save as they sserve to cloak his villainy. Pure selfishness, or at best physical temperament, is at the bottom of his good humor, apparent generosity, and even his family affection, for when the crucial test comes he will sacrifice anybody and everybody to self. ... (639)
"Better acquaintance with them, would soon disarm the fascinating villains who play such havoc with susceptible hearts....
"Beautiful evil! heroic villain! They have no existence save in the imagination of the poet and the romancer. In real life they are impossibilities,.... Their nearest possible realizations would be simply detestable, horrible." (639) journalism heroes entertainment, and journalism entertainment celebrity celebrity culture censorship books, periodicals, newspapers democracy newspapers, and democracy democracy, and newspapers news and journalism critics critics, and newspapers newspapers, and critics critics, and journalism journalism, and critics modernity modernity, and newspapers newspapers, and modernity new way of seeing journalism, and entertainment entertainment, and journalism newspapers, and entertainment entertainment, and newspapers advertising and public relations advertising, and newspapers advertising, and journalism journalism, and advertising newspapers, and advertising celebrity culture newspapers, and celebrity culture celebrity culture, and newspapers values values, and newspapers newspapers, and values censorship and ratings censorship, and newspapers newspapers, and censorship newspapers, and dime novels newspapers, and heros heroes, as false leaders false leaders, and newspapers critics, and modern heros critics, and modern literature censorship advertising false leaders Jackson, Edward C. Beautiful Evil 39440 Jackson, Mason The Pictorial Press: Its Origin and Progress London Hurst and Blackett, Publishers
1885
This book, which has about 150 illustrations, discusses the evolution of the use of pictures in newspapers in Great Britain and Europe prior to the widespread us of photographs. The work has ten chapters. Chapter 8 deals with the Illustrated London News and Chapter 9 discusses how the illustrated newspaper was produced prior to 1885. Chapter 10 covers artists who helped establish the illustrated press and the rise of pictorial journalism in Venice, Germany, and the Low Countries. The work ends (362-63) with a list of cities worldwide that have illustrated newspaper in 1885. Six publications are listed for New York City (Harper's Weekly, Harper's Bazaar, Frank Leslie's Illustrated Newspaper, Spirit of the Times, The Daily Graphic, and Illustrirte Zeitung (printed in German). In Washington, D.C. there was the Illustrated Washington Chronicle. Several other cities in Europe, Australia, Canada, and South America are listed. wood engraving journalism illustrations news and journalism photography, and journalism journalism, and photography photography, and newspapers newspapers, and photography magazines, and photography photography, and magazines photography and visual communication photography, and half tones half tones half tones, and newspapers newspapers, and half tones wood engraving, and newspapers newspapers, and wood engraving critics critics, and pictorial journalism newspapers, and illustrations illustrations, and newspapers newspapers, and artists art, and newspapers words vs. images images vs. words critics, and illustrated newspapers critics newspaper illustrations, origins Great Britain non-USA Great Britain, and illustrated newspapers non-USA, and illustrated newspapers Illustrated London News illustrations illustrations, and newspapers art magazines photography Jackson, Mason The Pictorial Press: Its Origin and Progress 16680 Jackson, Robert H. Papers of Robert H. Jackson Container 175 The Papers of Supreme Court Justice Robert H. Jackson cover many subject including the landmark case in 1952 involving the movie The Miracle (Joseph Bustyn v. Wilson). In its decision the Court abandoned the 1915 Mutual case and recognized motion pictures as “a significant medium for the communication of ideas.” The justices concluded that sacrilege was too vague a basis for censorship. Delivering the decision Justice Tom C. Clark wrote of censors set “adrift upon a boundless sea amid a myriad of conflicting currents of religious views, with no charts but those provided by the most vocal and powerful orthodoxies.” It was not the government’s business “to suppress real or imagined attacks upon a particular religious doctrine, whether they appear in publications, speeches, or motion pictures.” Jackson's paper contain correspondence regarding the Court consideration of the meaning of sacrilege. This material is in Container 175, Papers of Robert H. Jackson, Library of Congress, Washington, D. C. U. S. Supreme Court motion pictures, and religion self-regulation Production Code Burstyn v. Wilson Supreme Court (U. S.) values Production Code (motion pictures) Production Code (motion pictures) archives freedom values religion law censorship and ratings censorship court cases law, and motion pictures motion pictures, and law motion pictures and popular culture motion pictures censorship, and motion pictures motion pictures, and censorship Supreme Court (U. S.), and motion pictures motion pictures and Supreme Court (U. S.) court cases court cases, Miracle case court cases, First Amendment Burstyn, Joseph Miracle case Production Code, and decline of freedom, and motion pictures motion pictures, and freedom movies, and religion motion pictures, and religion sacrilege, and Supreme Court (U. S.) Supreme Court (U. S.), and sacrilege archives Jackson, Robert H. Papers of Robert H. Jackson 970 Jackson, William Henry The Moving Picture 'World’ Moving Picture World
June 4, 1910
6 22 931-32 In this article, the Rev. William Henry Jackson extolls the wondrous nature of the moving picture. “The eyes of the world say: ‘All the world’s a picture;’ anywhere, everywhere, earth, sea or sky; in burning tropics, or frozen pole; in ocean depth, or emblazoned sky; everywhere, the eye rests upon the beautiful, the picturesque.
“To-day we have the new picture, not the cold, lifeless picture, deathlike in its stillness, but the animated, living, active, inspiring reality, full of the vigor of life and beauty, a very part of the universe itself. No wonder then if the modern moving pictures strike a popular chord; they have touched the center of humanity, they have revealed life to be living; like as the universe itself is the crowning perfection of the amalgamation of its created parts; so the moving picture is the perfection of the sublimest combination of science, art and mathematics.
“The sciences of chemistry and electricity, with light, heat and power, together with the reproductive beauty of the photographer’s art, have united in producing the highest laudable results hitherto held secret in the recess of science, art and law, giving to people everything the marvel of the moving picture.
“Again the moving picture reaches humanity because of its universal nature, everyone sees the picture, everyone reads the picture….” (quotation, 931) religion motion pictures, and religion religion, and motion pictures motion pictures modernity modernity, and motion pictures motion pictures, and modernity new way of seeing motion pictures, and space and time space and time motion pictures, and time motion pictures, and space Jackson, William Henry The Moving Picture 'World’ 24100 Jacobs, Jody A Special Award for Nancy Reagan Los Angeles Times
Aug. 15, 1985
5 (View) 4 This article deals a special award created by the Entertainment Industries Council. It will be given to Nancy Reagan for her crusade against drug use. Lew Wasserman chaired the award committee. Jack Valenti was one of the co-chairs for the events honoring Mrs. Reagan. This award came at a time when the White House was exerting pressure on the motion picture industry to take part in the Reagan administration's war on drugs. Motion Picture Association of America (MPAA) MPAA Wasserman, Lew Valenti, Jack presidents, and new media Reagan administration motion pictures motion pictures and popular culture Reagan, Nancy Reagan, Nancy, and war on drug Reagan, Nancy, and Hollywood Valenti, Jack, and Nancy Reagan Wasserman, Lew, and Nancy Reagan Jacobs, Jody A Special Award for Nancy Reagan 20320 Jacobs, Lea The Wages of Sin: Censorshop and the Fallen Woman Film, 1928-1942 Madison University of Wisconsin Press
1991
Contrary to Gregory Black, Jacobs argues that Will Hays was "actively" concerned over the bad publicity generated by the Payne Fund Studies (page 107). Jacobs' work not only give an account of this episode but is also informative about women in motion pictures between 1928 and 1942, and the ways in which movie censors in the Production Code Administration dealt with gender issues. women, and new media women Payne Fund Studies law censorship and ratings censorship motion pictures and popular culture motion pictures motion pictures, and censorship women, and motion pictures censorship, and women motion pictures, and women Breen, Joseph, and women Hays, Will H., and women Hays, Will H., and public relations Payne Fund Studies, and Will Hays Hays, Will H., and Payne Fund studies censorship, and state censorship, and self-regulation, Hays, Will H. Breen, Joseph Hays, Will H. Jacobs, Lea The Wages of Sin: Censorshop and the Fallen Woman Film, 1928-1942 42920 Jacobs, Lewis Color and the Cinema New York Times
March 17, 1935
X 4 Jacobs predicts here that "The next few years will see a revolution in the technique of the screen as great as that effected by the arrival of sound." Jacobs discusses the ideas of stage and color designer Robert Edmond Jones.
Jacobs compares the use of color on stage and in the movies to its use in painting. "On the screen or stage, color is used to build a dramatic effect. In painting, color is used to build light, line, space, distance, design and other plastic forms. Color on the screen can no more be compared to color in painting than a tube of paint can be compared to either. For the moment the paint leaves the tube for canvas, its color becomes part and parcel of something else -- a new entity called painting. Likewise color in the film. The moment color is photographed and mounted to other color images it ceases to be just color and takes on the quality of drama, comedy, romance or fantasy. The understanding of the role of color in films necessitates a new conception of the color film by its technicians."
Jacobs lists several people, scenic designers, who know how to use color and who will be recruited by color moviemakers: "Robert Edmond Jones, Lee Simonson, Norman Bel Geddes, Cleon Throckmorton, Mordacal Gorelick, Albert Johnson, Howard Bey, Anton Refrugier and William Koenig."
Jacobs draws comparison between color and music. "The relationship of color values and tones so composed as to supplement the portrayal of the actors is no slight problem. While the photographic relationship of one shot to another in the black and white film may be compared to monotone and easily solved, in color there is a full palette to consider and tone takes on the complexities of a symphony, with all its contrapuntal subtleties. One false color scene can ruin an entire sequence...."
Color will be used to arouse emotions instead of subdue them. "...Every scene and sequence will call for its own color arrangements and harmonies. By such a principle, color sequences will be mounted so that color become a vital force in helping to arouse the emotions of the spectator, instead of distracting or stultifying him..... No spectator, whose emotions have been stirred by color, will ever be satisfied again by its pale echo, black and white."
Jacobs says that newsreels may use color film to great emotional effect. The "problem for the newsreels will not be to dramatize color but simply to record it. This does not mean, however, that color is unsuited for the newsreels. A parade with all its garishness, a fire with all its melodrama, a landscape with all its lyricism, a social upheaval with all its brutality, will be made infinitely more real or documentary because of color. The vitality of the contemporary scene will be captured in all of its external phases."
The problem with making color films in 1935 was the great expense involved. "At present it costs eight time more to produce a film in color than in black and white," Jacobs reported. Kalmus, Herbert Jones, Robert Edmond censorship motion pictures motion pictures, and Technicolor color color, and motion pictures color, and Technicolor Technicolor Kalmus, Herbert, and Technicolor cameras, and Technicolor cameras Technicolor, and sexuality sexuality sexuality, and Technicolor color, and sexuality sexuality, and color Kalmus, Natalie Natalie Kalmus, and critic of Technicolor, and color advisory service color, and emotions motion pictures, and color values values, and color color, and values color, and nature censorship and ratings color, and censorship censorship, and color color, and primitives color, and cinematographers color, and novelty color, and Robert Edmond Jones Jones, Robert Edmond, and color color, and music color, and Nature color, and emotions color, and Robert Edmond Jones newsreels, and color film motion pictures, and color newsreels motion pictures, and cost of color movies color, and cost of color movies color, and color movies 8 times as expensive news and journalism Jacobs, Lewis Color and the Cinema 36650 Jacobs, Lewis The Mobility of Color Lewis Jacobs The Movies As Medium New York Farrar, Straus & Giroux
1970
189-96 In this essay, Jacobs argues that "color stirs the mind and feelings and amplifies responses that would be toned down or be nonexistent without color." (189) He notes that "recent color films, styled from the painter's palette, emphasize the sensual qualities of color to serve the foundation of film." (193) Jacobs discusses work by such film makers as Fellini and Antonioni. Lewis concludes by saying that "when made relevant to the picture's subject, color offers an immediate resonance that vivifies mood, delineates character, enhances meaning." (196) technology corporations corporations motion pictures color cameras motion pictures, and cameras motion pictures, and color color, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures photography technology and society materials materials cinema motion pictures celluloid non-USA motion pictures and popular culture photography and visual communication cameras, and motion pictures film Technicolor Eastman Kodak Cinemascope celluloid technology, and motion pictures motion pictures, and technology color, and Eastman Kodak color, and Technicolor technological determinism media literacy motion pictures, and media literacy media literacy, and motion pictures color, and media effects media effects media effects, and color sexuality, and color film color, and sexuality sexuality Jacobs, Lewis The Mobility of Color 36630 Jacobs, Lewis selected arranged and introduced by The Movies as Medium New York Farrar, Straus & Giroux
1970
This work, published in 1970, is a collection of essays by directors and other film makers discussing such topics as the use of cameras, color, and sound. As Stanley J. Solomon writes in his piece, "Modern Uses of the Moving Camera," "what is happening is not merely a change in technique but an essential transformation in the approach to visual expression." (92) technology corporations corporations , motion pictures color cameras motion pictures, and cameras motion pictures, and color color, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures photography technology and society materials materials cinema motion pictures celluloid non-USA motion pictures and popular culture photography and visual communication cameras, and motion pictures film Technicolor Eastman Kodak Cinemascope celluloid EIsenstein, Sergei technology, and motion pictures motion pictures, and technology color, and Eastman Kodak color, and Technicolor technological determinism media literacy motion pictures, and media literacy media literacy, and motion pictures Jacobs, Lewis selected arranged and introduced by The Movies as Medium 32970 Jacobson, Lisa Raising Consumers: Children and the American Mass Market in the Early Twentieth Century New York Columbia University Press
2004
Long before television became the major medium for marketing to kids, children were both encouraged to be salesmen cultivated as consumers by the advertising industry. Far from being a fully top-down formulation, however, adolescent consumer culture was shaped by its participants and accompanied by dramatic shifts in social and economic contexts. Children both fit and mocked their gendered consumption roles, families dropped Victorian hierarchies in favor of more democratic relationships and consumption patterns and the economic ups and downs of the early twentieth century forced the middle-class public to constantly re-evaluate their spending habits. Evolving ideas on parenting strategies, spending and saving philosophies and advertising’s place in popular culture made for a complex mix of praise and critics of consumer culture from parents, magazines, experts and advertisers and children themselves.
--Dale Erlandson consumerism advertising and public relations education children and media advertising, and schools advertising, and education education, and advertising values values, and advertising advertising, and values children, and advertising advertising, and children education, and values values, and education critics critics, and advertising critics, and education education, and critics advertising, and critics capitalism capitalism, and education education, and capitalism education, and consumerism consumerism, and education children, and consumerism consumerism, and children children, and education education, and children Erlandson, Dale advertising children Jacobson, Lisa Raising Consumers: Children and the American Mass Market in the Early Twentieth Century 33950 Jagannathan, V. Rajendra Dodhiawala Distributed Artificial Intelligence SIGART Newsletter
Jan. 1986
95 44-56 This annotated bibliography, copyrighted by the Boeing Company in 1985, covers "Distributed Artificial Intelligence (DAI)" which "refers to the subarea of AI which is concerned with the problem of utilizing multiple processors to the solution of AI problems." (44) The annotations are "organized on the basis of the institutions to which the first author belongs. This approach was selected to allow the reader to identify those institutions which currently are emphasizing development of the subject material." (45) R & D nationalism corporations military-industrial complex corporations Boeing Corporation bibliographies bibliographies, annotated bibliographies, and artificial intelligence artificial intelligence and biotechnology Boeing and artificial intelligence artificial intelligence, and Boeing research and development research and development, and artificial intelligence military-industrial-university complex military communication military communication, and AI nationalism and communication Rajendra Dodhiawala Distributed Artificial Intelligence 2150 Jaher, Frederic Cople The Age of Industrialism in America: Essays in Social Structure and Cultural Values New York Free Press
1968
This work contains essays on the social impact of the Industrial Revolution. Included in this collection is John G. Cawelti's "America on Display: The World's Fairs of 1876, 1893, 1933." values Industrial Revolution values, and Industrial Revolution World Fairs values Jaher, Frederic Cople The Age of Industrialism in America: Essays in Social Structure and Cultural Values 34260 Jakubowicz, Andrew Ethnic Diversity, 'Race,' and the Cultural Political Economy of Cyberspace Henry Jenkins and David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
203-24 The author writes that "although race had entered the lexicon of cyberanalysts, much of the focus has been on the domestic politics of race within North America, the creation of virtual identity communities, or the activities of racist organizations on the Internet. Although these analyses offer valuable counterpoints to the dominance of white masculinity as the lingua franca of cyberdiscourse, they fall short of an analysis that links race practices in cyberspace to the wider race issues of globalization. This chapter then seeks to locate race in cyberspace within a global political economy of new media...." (203)
The volume in which Jakubowicz's chapter appears ispart of a larger series on new media technologies entitled Media In Transition. The volume tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." computers computers virtual reality nationalism Internet global communication community news and journalism non-USA nationalism and communication democracy democracy, and new media computers and the Internet democracy, and computers computers, and democracy Internet, and democracy democracy, and Internet critics digital media democracy, and digital media digital media, and democracy capitalism gatekeeping community, and democracy democracy, and virtual communities virtual communities cyberspace cyberspace, and democracy democracy, and cyberspace metaphors capitalism capitalism, and digital media digital media, and capitalism Internet, and capitalism capitalism, and Internet globalization race race, and new media ethnicity ethnicity, and new media cyberspace cyberspace, and race race, and cyberspace political economy race, and Internet Internet, and race globalization, and race race, and globalization Jakubowicz, Andrew Ethnic Diversity, 'Race,' and the Cultural Political Economy of Cyberspace 42830 James, William The Principles of Psychology New York Henry Holt and Company
1890, 1918
2 volumes William James quoted a passage from W. R. Clay's The Alternative: A Study in Psychology (1882) regarding the meaning of the term "the specious present." James referred to the specious present as “a saddle-back, with a certain breadth of its own, on which we sit perched, and from which we look in two directions into time.” (609) space and time time and timekeeping time, and psychology specious present James, William The Principles of Psychology 25660 Jarrard, Dennis Cardinal Lets Hollywood Off the Hook Los Angeles Times
Oct. 9, 1992
B (Metro) 7B Dennis Jarrard, who had been a member of the Archdioceses of Los Angeles' Commission of Obscenity and Pornography and an advocate of forcing Hollywood and the television industry to accept a new moral production code, here attacks Cardinal Roger M. Mahony for backing way from his call for a new code. Motion Picture Association of America (MPAA) MPAA values Christianity advertising, and public relations Wasserman, Lew propaganda public relations values sexuality motion pictures religion values morality Mahony, Roger Hollywood Catholic Church boycotts motion pictures and popular culture morality, and motion pictures values values, and motion pictures motion pictures, and values motion pictures, and values Catholic Church, and motion pictures Catholic Church, and new production code (1992) Mahony, Roger Mahony, Roger, and production code (1992) (1992) Valenti, Jack Valenti, Jack, and new production code (1992) Mahony, Roger, and pornography pornography, and Roger M. Mahony Hollywood, and Roger M. Mahony Archdoicese, Los Angeles pornography pornography, and Archdiocese of L.A. Jarrard, Dennis Morality in Media Citizens for Decency through Law (CDL) National Religious Alliance Against Pornography boycotts, and pornography advertising, and pornography pornography, and advertising boycott Jarrard, Dennis, and Roger Mahony Mahony, Roger, and Dennis Jarrard Wasserman, Lew, and Roger Mahony Valenti, Jack, and Roger Mahony Mahony, Roger, and Jack Valenti Mahony, Roger, and Lew Wasserman advertising Jarrard, Dennis Cardinal Lets Hollywood Off the Hook 25620 Jarrard, Dennis Clean Entertainment Los Angeles Times
Feb. 16, 1991
F (Calendar) 12F After the Meese Commission issued its Final Report (1986), Cardinal Roger M. Mahony appointed Santa Barbara businessman Dennis Jarrard to lead the Archdiocese of Los Angeles' Commission on Obscenity and Pornography that spearheaded anti-pornography efforts. The Commission's recommendations included passage of stronger obscenity laws. Jarrard and the Commission adopted multiple strategies in their campaign against pornography. As part of an interfaith coalition, the Commission became involved in a boycott against Clorox Corporation and Burger King to force them “to spend their advertising dollars to support traditional family values on TV.” It also recommended civil action to revoke a zoning permit for a bondage-and- discipline parlor in North Hollywood, a tactic that had been used successfully in other parts of the country to close porn theaters and ban nude dancing. The Los Angeles City Council’s Planning and Land Use Committee rejected the recommendation, however.
In early 1991, Jarrard called for a new code based on the Ten Commandments. Modern entertainment’s encouragement of promiscuity bore responsibility for the rampant spread of venereal disease and for the plague of AIDS. The mainstream film industry had degraded women with profanity and nudity. The new code would update the Hays-Breen formula, making it similar to the version of the Production Code that had been revised in 1956. Its management would be independent of the entertainment industry, and it would end “discrimination against the people who believe in time-tested Judeo-Christian values of human dignity and human rights.” Motion Picture Association of America (MPAA) MPAA values Christianity advertising, and public relations propaganda public relations values sexuality motion pictures religion values morality Mahony, Roger Hollywood Catholic Church boycotts motion pictures and popular culture morality, and motion pictures values values, and motion pictures motion pictures, and values motion pictures, and values Catholic Church, and motion pictures Catholic Church, and new production code (1992) Mahony, Roger Mahony, Roger, and production code (1992) (1992) Valenti, Jack Valenti, Jack, and new production code (1992) Mahony, Roger, and pornography pornography, and Roger M. Mahony Hollywood, and Roger M. Mahony Archdoicese, Los Angeles pornography pornography, and Archdiocese of L.A. Jarrard, Dennis Morality in Media Citizens for Decency through Law (CDL) National Religious Alliance Against Pornography boycotts, and pornography advertising, and pornography pornography, and advertising boycott Jarrard, Dennis, and Roger Mahony Mahony, Roger, and Dennis Jarrard advertising Jarrard, Dennis Clean Entertainment 33200 Jeanneney, Jean-Noël Google and the Myth of Universal Knowledge: A View from Europe Chicago University of Chicago Press
2007
In this book, Jean-Noël Jeanneney presents a manifesto in response to Google’s 2004 declaration that the company over a six-year period would “digitize some 15 million printed volumes, or around 4.5 billion pages” (p. 3). His book is, in a sense, a call to arms to European governments and cultural institutions to respond to the “challenge” presented by Google through the development of its Google Book Search (formerly called Google Print for Libraries or Google Library). He raises concerns that this commercial project will prioritize Anglo-Saxon cultural knowledge and works published in English, noting that less than three percent of all works published in the United States each year are translations of material that originally appeared in other languages (p. 8). He writes from the perspective of being the president of the Bibliothèque nationale de France (a position he held from 2002 to 2007).
He argues that governments and public institutions, as well as librarians and archivists must play a central role in the development of digital information systems, writing “The Enemy is clear: massive amounts of disorganized information. The progress of civilization can be defined, among other things, as the reduction of the forces of chance in favor of thinking that is enriched by organized knowledge” (p. 70). Furthermore, he posits that how information is organized matters as a reflection of cultural priorities.
Jeaneney presents this critique of Google as a challenge for European nations to develop digitization programs and search engines of their own, which, he argues, will better serve the cultural and social needs of Europe because, according to Jeanneney, “there can be no universal library” (p. 5). He sees such a project as serving both an “industrial” and a “cultural” function. He writes that a pan-European digitization project would be “responding to the essential question of how we can make our cultural wealth available, have it intelligently selected and usefully organized into a corpus” (p. 77).
--Jill Hopke reading Google computers Hopke, Jill digital media books, periodicals, newspapers information storage history and new media democracy computers and the Internet democracy, and digital media digital media, and democracy digital media, and information storage Google, and digital books information storage, and digital media non-USA non-USA, and digital media Europe, and digital media Europe Europe, and information storage books, and digital media digital media, and books books, and reading digital media, and reading reading, and digital media books, and computers computers, and books books computers history Jeanneney, Jean-Noël Google and the Myth of Universal Knowledge: A View from Europe 3430 Jenkin, Patrick Automation is Good for Us Tom Forester, ed. and intro. The Information Technology Revolution Cambridge, MA MIT Press
1985
377-89 See also: office A statement by a British Cabinet minister saying that it is not automation that risks jobs but the failure to automate that puts them at risk. This statement appeared first in New Scientist (Feb. 24, 1983). Jenkins was then Secretary of State for Industry. computers non-USA labor computers and the Internet computers and society automation Great Britain labor, and automation computers Jenkin, Patrick Automation is Good for Us 11120 Jenkins, C. Francis Animated Pictures: An Exposition of the Historical Development of Chronophotography, its Present Scientific Applications and Future Possibilities, and of the Methods and Apparatus Employed in the Entertainment of Large Audiences by means of Projecting Lanterns to Give the Appearance of Objects in Motion Washington, D. C. C. Francis Jenkins
1898
The subtitle of this work is indicative of the author's focus. It is a discussion of moving pictures and their possibilities written near the birth of this new medium. Jenkins discusses commercial applications beginning on page 45. television, and history of motion pictures television television, and origins Jenkins, Charles Francis Jenkins, C. Francis Animated Pictures: An Exposition of the Historical Development of Chronophotography, its Present Scientific Applications and Future Possibilities, and of the Methods and Apparatus Employed in the Entertainment of Large Audiences by means of Projecting Lanterns to Give the Appearance of Objects in Motion 6950 Jenkins, Charles Francis History of Motion Pictures Raymond Fielding, ed. A Technological History of Motion Pictures and Television Berkeley University of California Press
1967
1-4 This piece first appeared in Transactions in the Society of Motion Picture Engineers, 13 (Oct. 1920). television, and history of motion pictures motion pictures motion pictures, and origins television television, and origins Jenkins, Charles Francis History of Motion Pictures 6960 Jenkins, Charles Francis Radio Movies, Radiovision, Television Washington, D. C. Jenkins Laboratories
1929
television, and history of radio motion pictures television television, and origins Jenkins, Charles Francis Radio Movies, Radiovision, Television 6970 Jenkins, Charles Francis Radio Photographs, Radio Movies, Radio Vision Transactions of the Society of Motion Picture Engineers
Dec. 1923
16 78-79 photography television, and history of radio photography and visual communication seeing at a distance motion pictures television television, and origins radio, and photography electricity Jenkins, Charles Francis Radio Photographs, Radio Movies, Radio Vision 6980 Jenkins, Charles Francis Transmitting Pictures by Electricity Electrical Engineer
July 25, 1894
18 62-63 photography television, and history of photography and visual communication television television, and origins photography and visual communication electricity photography, and electricity electricity Jenkins, Charles Francis Transmitting Pictures by Electricity 6990 Jenkins, Charles Francis Vision by Radio, Radio Photographs, Radio Photograms Washington, D. C. Jenkins Laboratories
1925
Jenkins here predicts that when “radio service to the eye shall have a comparable development with radio service to the ear, a new era will indeed have been ushered in, when distance will no longer prevent our seeing our friend as easily as we hear him.” Sending moving pictures “is not a visionary, or even a very difficult thing to do; speech and music are carried by radio, and sight can just as easily be so carried.” Jenkins was confident in 1925 that the ability to “control ... light at distant points” would be “the next great advance in electricity,” and this work was devoted to helping researchers and engineers achieve this goal.
Jenkins’ Table of Contents is arranged alphabetically by technology and topic: e.g., “Amstutz Machines,” “Color by Radio,” “Lens Disc Machine,” “Sending Machines,” “Talking Machine,” “Zinc Etching,” etc. photography motion pictures journalism news and journalism television, and history of photography and visual communication news news, and transmission of photographs news transmission television television, and origins photography and visual communication news, and wire photographs photography, and electricity radio radio, and photography television, and early technology radio, and early technology electricity radio vision radio, and television radio, and motion pictures motion pictures, and early technology Jenkins, Charles Francis Vision by Radio, Radio Photographs, Radio Photograms 34080 Jenkins, Henry Quentin Tarantino's Star Wars? Digital Cinema, Media Convergence, and Participatory Culture David Thorburn and Henry Jenkins, eds. Rethinking Media Change: The Aesthetics of Transition Cambridge, MA MIT Press
2003
281-312 Jenkin's perspective views "media fans as active participants within the current media revolution and their cultural products as an important aspect of the digital cinema movement. If many advocates of digital cinema have sought to democratize the means of cultural production, to foster grassroots creativity by opening up the tools of media production and distribution to a broader segment of the general public, then the rapid proliferation of fan-produced Star Wars films may represent a significant early success story for that movement....
"In this essay, I will explore how and why Star Wars became, according to Jason Wishnow, a 'catalyst' for amateur digital filmmakingand what this case study suggests about the future directions popular culture may take." (282-3)
Jenkin's essay is one of twenty-two chapters by different authors that attempt to improve our "understanding of emerging communication technologies." This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. The editors of this volume describe the chapters in this work as follows: "Challenging the assumption that new technologies displace older systems with decisive suddenness and have a revolutionary impact on society, the essays in this book see media change as an accretive, graduate process, always a mix of tradition and innovation, in which emerging and established systems interact, shift, and collude with one another. special effects, and digitization interactive media motion pictures digital media motion pictures, digital digital motion pictures media convergence interactivity motion pictures, and interactivity special effects motion pictures, and special effects special effects, digital Star Wars audiences audiences, and motion pictures motion pictures, and audiences motion pictures, and fans audiences digitization Jenkins, Henry Quentin Tarantino's Star Wars? Digital Cinema, Media Convergence, and Participatory Culture 34130 Jenkins, Henry David Thorburn Introduction: The Digital Revolution, the Informed Citizen, and the Culture of Democracy Henry Jenkins and David Thorburn Democracy and New Media Cambridge, MA MIT Press
2003
1-17 The authors write that at "its most excessive, the rhetoric of the digital revolution envisioned a total displacement of centralized broadcast media by a trackless web of participatory channels. Netcitizens spoke of the major networks, for example, as dinosaurs slinking off to the tar pits as they confronted the realities of the new economy. The decline of the dot-coms makes clear, however, that such predictions were premature. The power of movies and television to speak to a vast public is immensely greater than the diffused reach of the new media, through which many messages can be circulated but few can ensure a hearing. This dramatic reversal of economic fortunes suggests that similar arguments for the decline of powerful governmental institutions in the face of cyber-democracy may be equally premature and simple-minded." (12-13)
This volume in which this essay appears is part of a larger series on new media technologies entitled Media In Transition, and it tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organzied by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." (ix-x) computers computers democracy democracy, and new media digital media computers and the Internet values computers, and democracy Internet, and democracy democracy, and Internet democracy, and computers Internet David Thorburn Introduction: The Digital Revolution, the Informed Citizen, and the Culture of Democracy 33830 Jenkins, Henry// David Thorburn, eds. Democracy and New Media Cambridge, MA MIT Press
2003
This volume, which part of a larger series on new media technologies entitled Media In Transition, tries to offer a historical and comparative perspective on it subject in a way that is accessible to a wide audience of humanists, social scientists, and policymakers. As the editors explain, the "essays in this volume capture something of the complexity and disagreement in current discourse about the politics of cyberspace. Some contributors offer us front-line perspectivs on the impact of emerging technologies on politics, journalism, and civic experience. What happens when we reduce the transaction cost for civic participation, or increase access to information, or expand the arena of free speech? Other contributors place our shifting understanding of citizenship in historical context, suggesting that notions of cyberdemocracy and online community must grow out of older models of civic life. Still others expand this conversation to consider the global flow of information and to test our American conceptions of cyberdemocracy against developments in other parts of the world. How, for example, do new media operate in Castro's Cuba, or in post-apartheid South Africa, or in the context of multicultural debates on the Pacific Rim? Some contributors examine specific sites and practices, describing new forms of journalism or community organizing. Some voices here are deeply skeptical; other are optimistic. For some writers the new technologies endanger our political culture; for others, they promise civic renewal.
"Most of the papers on which these chapters are based originated in series of public forums and conferences hosted by MIT from 1998 to 2000 under the title 'Media in Transition.' Funded by the John and Mary R. Markle Foundation and organized by the MIT Communications Forum, these events aimed to nourish a broad civic conversation about the political impact of new media technologies. The essays have been revised for this book." (ix-x)
Contributors to the volume include Henry Jenkins and David Thorburn, Lloyd Morrisett, Benjamin R. Barber, Michael Schudson, Philip E. Agre, Doug Schuler, Amitai Etzioni, Roger Hurwitz, Ira Magaziner, David Winston, Nolan A. Bowie, Adams Clayton Powell III, Cristina Venegas, Andrew Jakubowicz, Ashley Dawson, John Hartley, Christopher Harper, Robert Huesca and Brenda Dervin, Ingrid Volkmer, Ellen Hume, David Sholle, and Peter Walsh. computers democracy news and journalism cyberspace civic journalism digital media journalism, and digital media democracy, and digital media freedom computers and the Internet democracy, and computers democracy, and Internet democracy, and cyberspace globalization non-USA Cuba South Africa race hypertext, and journalism journalism, and hypertext networks networks, and digital media Commons, John Africa citizenship Internet, and citizenship citizenship, and Internet journalism, and citizenship citizenship, and digital media digital media, and citizenship community democracy, and community community, and new media digital divide gatekeeping information v. knowledge regulation, and Internet news, and time democracy, and technology values regulation hypertext Internet journalism news censorship and ratings global communication Jenkins, Henry// David Thorburn, eds. Democracy and New Media 33180 Jenkins, Olivia Photography and Travel Brochures: The Circle of Representation Tourism Geographies
2003
5 3 The article is concerned with the power of the visual image in relation to tourist behavior. The author discusses the relevant literature for understanding tourist images from such disciplines as geography, sociology, cultural studies or anthropology. With the conceptualization of “’Circles’ of representation” for tourist destination images in terms of marketing, the article then focuses on backpacker tourists visiting Australia as an example to illustrate the connection between tourist brochures and the photographic preferences and behavior of backpackers traveling to and in Australia. The research and interviews of this project show “a circular process by which particular tourist images are produced, projected, perceived, propagated and perpetuated” (p. 323). Thus, this study underlines the links between the representation of tourism marketers and the photographic pattern of backpackers to develop an understanding of the meaning of the tourist experience.
--Huai-Hsuan Chen tourism Chen, Huai-Hsuan color photography, and anthropology sociology, and photography photography, and sociology sociology photography, and ethnography ethnography, and photography photography and visual communication photography, and tourism tourism, and photography photography, and travel photography, and space anthropology, and photography photography, and geography geography geography, and photography non-USA Australia Australia, and photography photography, and Australia non-USA, and photography photography Jenkins, Olivia Photography and Travel Brochures: The Circle of Representation 12720 Jenkins, Reese Images and Enterprise: Technology and the American Photographic Industry, 1839-1925 Baltimore Johns Hopkins University Press
c1975, 1987 (electronic format)
This book was published in an electronic format in 1987. Jenkins was the editor of the Thomas A. Edison Papers. photography photography and visual communication photography, and new technology Eastman, George photography, and roll film photography, and dry plate photography, and amateur Jenkins, Reese Images and Enterprise: Technology and the American Photographic Industry, 1839-1925 12710 Jenkins, Reese Some Interrelations of Science, Technology, and the Photographic Industry in the Nineteenth Century University of Wisconsin, Madison
1966
photography photography and visual communication photography, and Ph.D. photography, and 19th century technology Jenkins, Reese Some Interrelations of Science, Technology, and the Photographic Industry in the Nineteenth Century 12730 Jenkins, Reese et al. eds. The Papers of Thomas A. Edison Baltimore Johns Hopkins University Press
c1989 -
Menlo Park: The Early Years: April, 1876 - December, 1887 , Volume 3. The Wizard of Menlo Park: 1878, is Volume 4 in this series. archives Edison, Thomas archives Menlo Park Jenkins, Reese et al. eds. The Papers of Thomas A. Edison 1640 Jenkins, Reese V. Technology and the Market: George Eastman and the Origins of Mass Amateur Photography Stephen H. Cutliffe and Terry S. Reynolds, eds. Technology & American History: A Historical Anthology from Technology & Culture Chicago University of Chicago Press
1997
197-215 Jenkins notes that until the 1870s, the process of taking photographs was so complex that "only professional photographers and a very few avid amateurs chose to pursue the practice." Jenkins discusses George Eastman and changes in photography from dry plates to the system of role film. "During the decade 1879-89," he writes, "photography passed through two significant revolutions: the introduction of gelatin emulsions and the creation of mass amateur photography." photography preservation communication revolution history, and new media community democracy history photography and visual communication photography, amateur democracy and media communication revolution Eastman, George history, and media photography, and portable (late 19th century) photography, and 19th century cameras cameras, and portable (19th century) photography, and gelatin emulsions photography, and roll film photography, and dry plate Jenkins, Reese V. Technology and the Market: George Eastman and the Origins of Mass Amateur Photography 690 Joerges, Bernward Large Technical Systems: Concepts and Issues Renate Mayntz and Thomas P. Hughes, eds. The Development of Large Technical Systems Bolder, CO and Frankfurt am Main Westview Press and Campus Verlag
1988
5-36 This essay as well as the collection in which it is published relates to such other large themes as electricity, transportation (railroads), telephones, and aeronautics. labor networks office office, and new media office general studies electricity technical systems infrastructure networks, and large systems Joerges, Bernward Large Technical Systems: Concepts and Issues 40280 Johannsen, Dorothea [book review] Journal of Abnormal and Social Psychology
1933-1934
28 330-33 In this review of Leonard T. Troland's book Principles of Psychophysiology (1930), Dorothea Johannsen about 44 percent of this book is concerned with visual sensation, owing in large part to Troland interest in this topic. (331) Troland, Leonard color Troland, Leonard, and color color, and Leonard Troland Troland, Leonard, and visual sensation color, and media effects media effects media effects, and color Troland, Leonard, and book review book review, and Leonard Troland Johannsen, Dorothea [book review] 24250 John Paul II, Pope Address to Communication Industry Executives, Los Angeles, Sept. 15, 1987 (excerpts) New York Times
Sept. 16, 1987
A 24A Pope John Paul II, in an address to entertainment industry leaders, said that "you represent one of the most important American influences on the world of today. ... Humanity is profoundly influenced by what you do. ... It is a fact that your smallest decisions can have global impact." Motion Picture Association of America (MPAA) MPAA values Christianity Wasserman, Lew Valenti, Jack values archives motion pictures Hollywood values religion Catholic Church non-USA motion pictures and popular culture television Pope John Paul II, and motion pictures Pope John Paul II Pope John Paul II, and television television, and Pope John Paul II motion pictures, and Pope John Paul II Valenti, Jack, and Pope John Paul II Wasserman, Lew, and Pope John Paul II Hollywood, and Catholic Church Hollywood, and religion Catholic Church, and Hollywood addresses values critics values, and virtual reality virtual reality John Paul II, Pope Address to Communication Industry Executives, Los Angeles, Sept. 15, 1987 (excerpts) 28390 John Paul II, Pope Dives in Misericordia: Encyclical of Pope John Paul II on the Mercy of God, November 30, 1980 Claudia Carlen, ed. The Papal Encyclicals, 1958-1981 Releigh, NC McGrath Publishing Company
1981
287 Pope John Paul II notes "the progress of science and technology can produce not only new material goods but also a wider sharing of knowledge. The extraordinary progress made in the field of information and data processing, for instance, will increase man's creative capacity and provide access to the intellectual and cultural riches of other peoples. New communication techniques will encourage greater participation in events and a wider exchange of ideas." (287) technology values Christianity technology and society science values Third World non-USA values critics Catholic Church, and new media Third World, and new media Third World, and Catholic Church Catholic Church, and technology technology, and Catholic Church Catholic Church, and science science, and Catholic Church Catholic Church John Paul II, Pope Dives in Misericordia: Encyclical of Pope John Paul II on the Mercy of God, November 30, 1980 28400 John Paul II, Pope Encyclical Letter Centesimum Annus: Addressed by the Supreme Pontiff John Paul II To His Venerable Brothers in the Episcopate, the Priests and Deacons, Familes of Men and Women Religious, All the Christian Faithful, and to All Men and Women of Good Will on the Hundredth Anniversary of Rerum Novarum [May, 1991] J. Michael Miller, ed. and intro. The Encyclicals of John Paul II Huntington, IN Our Sunday Visitor, Inc.
1996
631 See also: violence See also: sexuality John Paul II here speaks of obstacles to freedom and personal growth: "A person who is concerned solely or primarily with possessing and enjoying, who is no longer able to control his instincts and passions, or to subordinate them by obedience to the truth, cannot be free...." While "the ownership of things may become an occasion of personal growth," the Pope says, this "growth can be hindered as a result of manipulation by the means of mass communication, which impose fashions and trends of opinion through carefully orchestrated repetition, without its being possible to subject to critical scrutiny the premises on which these fashions and trends are based." values Christianity advertising, and public relations propaganda public relations values media effects values Catholic Church values critics Catholic Church, and new media advertising, and Catholic Church Catholic Church, and advertising values, and advertising religion, and new media media effects, and Catholic Church advertising religion John Paul II, Pope Encyclical Letter Centesimum Annus: Addressed by the Supreme Pontiff John Paul II To His Venerable Brothers in the Episcopate, the Priests and Deacons, Familes of Men and Women Religious, All the Christian Faithful, and to All Men and Women of Good Will on the Hundredth Anniversary of Rerum Novarum [May, 1991] 20710 John Paul II, Pope Encyclical Letter Evangelium Vitae Addressed by the Supreme Pontiff John Paul II to the Bishops, Priests, and Deacons, Men and Women Religious, Lay Faithful, and All People of Good Will on the Value and Inviolability of Human Life, March 25, 1995 J. Michael Miller, ed. and intro. The Encyclicals of John Paul II Huntington, IN Our Sunday Visitor, Inc.
1996
792-892 Pope John Paul II says that "with the new prospects opened by scientific and technological progress there arise new forms of attacks on the dignity of the human being." He condemns a "new cultural climate" which endorses abortion in the name of individual freedom. (794)
With regard to the mass media, he says that "aside from intentions, which can be varied and perhaps can seem convincing at times, especially if presented in the name of solidarity, we are in fact faced by an objective 'conspiracy against life,' involving even international institutions engaged in encouraging and carrying out actual campaigns to make contraception, sterilization, and abortion widely available. Nor can it be denied that the mass media are often implicated in this conspiracy, by lending credit to that culture which presents recourse to contraception, sterilization, abortion and even euthanasia as a mark of progress and a victory of freedom, while depicting as enemies of freedom and progress those positions which are unreservedly pro-life." (806)
The Pope speaks of a struggle between the "culture of life" and the "culture of death" (810) and urges those working in the mass media to encourage "a new culture of life" (883) that reestablishes the vital link between freedom and life. (884, 887)
See also the editor's (J. Michael Miller) Introduction to this encyclical (772-89). technology values Christianity technology and society progress archives cyberspace culture freedom values religion law censorship and ratings censorship Catholic Church Catholic Church non-USA papal encyclicals Pope John Paul II Pope John Paul II, and 1995 encyclical Pope John Paul II, and Evangelium Vitae Catholic Church, and motion pictures censorship, and motion pictures motion pictures, and Catholic Church motion pictures, and censorship Christianity, and motion pictures motion pictures, and Christianity television motion pictures and popular culture motion pictures television, and Catholic Church Catholic Church, and television radio radio, and Catholic Church Catholic Church, and radio culture of death, and Pope John Paul II Catholic Church, and modern media Catholic Church, and culture of death critics values progress, and Catholic Church progress, and technology technology, and progress abortion, and freedom freedom, and abortion abortion John Paul II, Pope Encyclical Letter Evangelium Vitae Addressed by the Supreme Pontiff John Paul II to the Bishops, Priests, and Deacons, Men and Women Religious, Lay Faithful, and All People of Good Will on the Value and Inviolability of Human Life, March 25, 1995 20750 John Paul II, Pope Encyclical Letter Redemptoris Missio of the Supreme Pontiff John Paul II on the Permanent Validity of the Church's Missionary Mandate [Dec. 7, 1990] J. Michael Miller, ed. and intro. Huntington, IN Our Sunday Visitor, Inc.
1996
525-27 In this encyclical, Pope John Paul II says that "since the very evangelization of modern culture depends to a great extent on the influence of the media, it is not enugh to use the media simply to spread the Christian message and the Church's authentic teaching. It is also necessary to integrate that message into the 'new culture' created by modern communications. This is a complex issue, since the 'new culture' originates not just from whatever content is eventually expressed, but from the very fact that there exist new ways of communicating, with new languages, new techniques and a new psychology. Pope Paul VI said that 'the split between the Gospel and culture is undoubtedly the tragedy of our time,' and the field of communications fully confirms this judgment." values Christianity values archives values religion law censorship and ratings censorship Catholic Church non-USA papal encyclicals Pope John Paul II Pope John Paul II, and 1990 encyclical Pope John Paul II, and Redemptoris Missio Catholic Church, and motion pictures censorship, and motion pictures motion pictures, and Catholic Church motion pictures, and censorship Christianity, and motion pictures motion pictures, and Christianity television motion pictures and popular culture motion pictures television, and Catholic Church Catholic Church, and television radio radio, and Catholic Church Catholic Church, and radio Catholic Church, and modern media communication, and new culture values, and new culture critics values Catholic Church John Paul II, Pope Encyclical Letter Redemptoris Missio of the Supreme Pontiff John Paul II on the Permanent Validity of the Church's Missionary Mandate [Dec. 7, 1990] 20720 John Paul II, Pope Encyclical Letter Sollcitudo Rei Socialis of the Supreme Pontiff John Paul II for the Twentieth Anniversary of Populorum Progressio, Dec. 30, 1987 [publ. Feb. 19, 1988] J. Michael Miller, ed. and intro. The Encyclicals of John Paul II Huntington, IN Our Sunday Visitor, Inc.
1996
443 Speaking of developing nations, Pope John Paul II says that in "social communications, which, being run by centers mostly in the northern hemisphere, do not always give due consideration to the priorities and problems of such countries or respect their cultural make-up. They frequently impose a distorted vision of life and of man, and thus fail to respond to the demands of true development." imperialism values Christianity values archives Third World values religion law censorship and ratings censorship Catholic Church non-USA papal encyclicals Pope John Paul II Pope John Paul II, and 1987 encyclical Pope John Paul II, and Sollicitudo Rei Socialis Catholic Church, and motion pictures censorship, and motion pictures motion pictures, and Catholic Church motion pictures, and censorship Christianity, and motion pictures motion pictures, and Christianity television motion pictures and popular culture motion pictures television, and Catholic Church Catholic Church, and television radio radio, and Catholic Church Catholic Church, and radio Catholic Church, and modern media Third World, and new media critics cultural imperialism values, and Third World values Catholic Church John Paul II, Pope Encyclical Letter Sollcitudo Rei Socialis of the Supreme Pontiff John Paul II for the Twentieth Anniversary of Populorum Progressio, Dec. 30, 1987 [publ. Feb. 19, 1988] 2300 John, Richard R. Spreading the News: The American Postal System from Franklin to Morse Cambridge, MA Harvard University Press
1995
This work is a history of the American postal system from 1775 to 1844, from the beginning of the American Revolution to the commercialization of the telegraph. “Though the postal system suffered several setbacks during the 1830s, it remained the linchpin of the American communications infrastructure until the following decade when, with the advent of commercial telegraphy, it lost its preeminent position in the transmission of information relating to commerce and public affairs.” Contemporaries in the early nineteenth century compared the postal system’s importance to the printing press, compass, electricity, and thought of it as Tocqueville described it as that “great link between minds” that “‘penetrates’ into the ‘heart of the wilderness,’ bringing enlightenment to palace and hovel alike.” Some contemporaries said that it annihilated time and space. John is particularly good in discussing the Post Office Act of 1792, which he believes had a profound influence in facilitating the flow of information. The Act gave newspapers favorable postal treatment, thus accelerating the growth of the press; it forbade public officials from using the postal service as a means of surveillance over citizens; and by giving Congress the power to decide where post offices would be located it hastened postal service west of the Appalachians. The act greatly increased the spread of newspapers and government documents, and gave Americans even in the backwoods greater access to public information than existed in many of the most affluent parts of France.
Of the Post Office Act of 1792, John writes: “So far reaching were the implications of this landmark piece of legislation that it is worth considering whether the single most revolutionary era in the entire history of American communications may well have taken place in the half-century preceding the commercialization of the electric telegraph in 1844.” While this statement is highly debatable in light of subsequent developments in American communication, this book is nevertheless a first-rate history of the American postal system. post office nationalism time and timekeeping time democracy and media democracy labor communication revolution journalism news and journalism office office, and new media office geography press newspapers news nationalism and communication postal service telegraph newspapers communication revolution books, periodicals, newspapers newspapers, and nationalism nationalism, and newspapers nationalism, and postal system press, and postal system infrastructure Tocqueville, Alexis de space (spatial) time John, Richard R. Spreading the News: The American Postal System from Franklin to Morse 20760 John XXIII, Pope Ad Petri Cathedram: Encyclical of Pope John XXIII on Truth, Unity and Peace, in a Spirit of Charity, June 29, 1959 Claudia Carlen, ed. The Papal Encyclicals, 1958-1981 Raleigh, N. C. McGrath Publishing Company
1981
5 5-20 Pope John XXIII turning new media toward wholesome ends. "We must fight immoral and false literature with literature that is wholesome and sincere. Radio broadcasts, motion pictures, and television shows which make error and vice attractive must be opposed by shows which defend truth and strive to preserve the integrity and safety of morals. Thus these new arts, which can work much evil, will be turned to the well-being and benefit of men, and at the same time will supply worthwhile recreation. Health will come from a source which has often produced only devastating sickness." values Christianity values archives values religion law censorship and ratings censorship Catholic Church non-USA papal encyclicals Pope John XXIII Pope John XXIII, and 1959 encyclical Pope John XXIII, and Ad Petri Cathedram Catholic Church, and motion pictures censorship, and motion pictures motion pictures, and Catholic Church motion pictures, and censorship Christianity, and motion pictures motion pictures, and Christianity television motion pictures and popular culture motion pictures television, and Catholic Church Catholic Church, and television radio radio, and Catholic Church Catholic Church, and radio Catholic Church, and modern media Catholic Church, and new media values critics Catholic Church John XXIII, Pope Ad Petri Cathedram: Encyclical of Pope John XXIII on Truth, Unity and Peace, in a Spirit of Charity, June 29, 1959 16390 Johnson, George Lindsay Photographic Optics and Colour Photography: Including the Camera, Kinematograph, Optical Lantern, and the Theory and Practice of Image Formation London Ward & Co.
1909
This book deals "with the theory, construction, and practical working of ... various classes of optical instruments" that could be used in 1909 by photographers. The opening chapter deals with "The Camera," followed by a chapter on "The Lens." Chapter 3 is "The Formation of the Image on thee Screen, and Apparatus Connected with It," and Chapter 4 is on "Sensitometers." Chapter 5 is on "Colour Photography" and covers three-color photography, Lippmann's color photography, Ives' "Photochomoscope," and Lumiere's Autochrome Process. Chapter 6 is "The Formation of the Image on the Plate," and the last chapter, Chapter 7 is on "The Optical Lantern."
This work has a beautiful color Autochrome photograph of two women opposite the title page. This three-color process required 5 seconds exposure time in the open air. The work has several black-and-white photographs and also illustrations of cameras. There are at least two other color plates in this work in addition to the one opposite the title page. At the end of the work there are a number of interesting advertisements for camera equipment. objectivity Lippmann process illustrations photography color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication color, and Lumiere process color, and Lippmann process Lippmann process, and color Lumiere process, and color color, and chromoscope illustrations illustrations, and color photography photography, instantaneous photography, and motion pictures motion pictures, and photography cameras cameras, and lenses photography, and objectivity objectivity, and photography Cameras Kinematograph motion pictures, and Kinematograph illustrations illustrations, and color photography Autochrome, and color photography color, and Autochrome non-USA Great Britain Great Britain, and color photography color photography, and Great Britain motion pictures Johnson, George Lindsay Photographic Optics and Colour Photography: Including the Camera, Kinematograph, Optical Lantern, and the Theory and Practice of Image Formation 15170 Johnson, Julian Chevalier de Pixley Departs Los Angeles Times
April 19, 1912
II 5 This article reports that “The Kinemacolor Theater gave an extra matinee at 10 a.m. yesterday, for the benefit of the children from several public schools of the city. The new process of color photography, as applied to moving pictures has produced some astonishingly realistic results, and the school official knowing of the instructive, as well as the educational, values that can be derived from these pictures, made arrangements by which they could view an entertainment made up especially for them.
“Scenic pictures from various parts of the world, showing the different industries, customs, etc. In all their wealth of natural colors, interpreted with subjects of a lighter character to please the children, were the programme for the morning.” children photography motion pictures color color, and photography photography, and color motion pictures, and color color, and motion pictures photography and visual communication education education, and color photography children and media motion pictures, and children children, and motion pictures media effects children, and media effects media effects, and children children, and color photography children Johnson, Julian Chevalier de Pixley Departs 7630 Johnson, Loch K. Secret Agencies: U. S. Intelligence in a Hostile World New Haven Yale University Press
1996
Chapter 1 is entitled “The Meanings and Methods of Intelligence,” and Chapter 7, the book’s last chapter, is “An Assessment of American Intelligence.” A few other pages discuss satellite photography, imagery, and related subjects. This is the author’s third book on U.S. intelligence. A Season of Inquiry (1985) and America’s Secret Power (1989) were earlier works, the former is “about the beginning of a new era for American intelligence ushered in by a series of spy scandals” and accusation in 1975 by government investigators that the CIA was conducting espionage against American citizens. This most recent book has a good deal of information on spy satellites, information processing, and their impact on the Cold War. The notes are also useful for finding related literature on satellites.
--SV

This is an account of the U.S. intelligence establishment in the post-World War II era. Johnson discusses the dramatic growth of this arm of government from modest beginnings in the early war period to a multi-billion dollar operation at the height of the Reagan administration’s Cold War efforts. Technological advancement is a significant part of the story, in particular satellites and the use of ever-more-powerful cameras. The evolving political climate in which the intelligence community must operate is discussed, as is the political tension that exists within the community itself. Aside from secondary sources, Johnson relies primarily on information released by intelligence agencies and interviews with key figures in the community, many of whom he knows from his days as an aide on the House and Senate Intelligence Subcommittees. At the time of the book’s publication, he was at the University of Georgia.
--Gordon Jackson R & D USSR surveillance Central Intelligence Agency Soviet Union, and space photography law, and privacy law research and development war Cold War war non-USA reconnaissance aeronautics and space communication military communication satellites satellites, and photography photography and visual communication reconnaissance, and satellites satellites, and reconnaissance Soviet Union intelligence, military military, and satellites Soviet Union, and satellites Cold War, and satellites Jackson, Gordon privacy privacy, and surveillance CIA satellites, and privacy privacy, and satellites Johnson, Loch K. Secret Agencies: U. S. Intelligence in a Hostile World 11380 Johnson, Michael L. The New Journalism: The Underground Press, the Artists of Nonfiction, and Changes in the Established Media Lawrence The University Press of Kansas
1971
Johnson provides a useful overview of the underground press during the 1960s. He considers four categories of underground newspapers: 1) African American papers; 2) New Left publications; 3) special-interest papers; and high-school underground newspapers. He also mentions that some foresaw "a network of short-range pirate radio stations, outside FCC jurisdiction," although this theme is not developed. Of interest, too, is the emergence of underground press services such as the Underground Press Syndicate and the Liberation News Service.
Johnson devotes a couple of pages to the technology that made the growth of underground papers possible. During the 1950s, papers such as Beatitude in San Francisco and Combustion in Toronto were mimeographed. The development of cold-type offset printing made it possible to produce more graphically sophisticated publications. The process was first used in Middletown, NY in 1956, and later spread rapidly giving papers much greater circulation possibilities. Such publications as the San Francisco Oracle exploited offset reproduction and made an art-form of newspaper graphics.
Johnson notes that Supreme Court rulings that liberalized obscenity laws aided the growth of underground publications, too. underground newspapers underground media print values communication revolution journalism communication revolution news and journalism reproduction revolution printing printing press newspapers news books, periodicals, newspapers printing, cold-type offset newspapers, underground (1960s) underground press Underground Press Syndicate Liberation News Service obscenity, and underground publications graphics revolution reproduction revolution (1960s) duplicating technologies mimeograph obscenity news, and Underground Press Syndicate news, and Liberation News Service censorship and ratings Johnson, Michael L. The New Journalism: The Underground Press, the Artists of Nonfiction, and Changes in the Established Media 870 Johnson, Ralph Arthur World Without Workers: Prime Time's Presentation of Labor Labor Studies Journal
Winter 1981
5 3 199-206 See also: office Johnson argues that prime-time television in the late 1970s depicted an upper-middle-class view of work and workers and that real laborers were being ignored. This finding is significant, Johnson argues, because television shows Americans what life is supposed to be like. Johnson analyzed the content of 20 prime-time shows for the 1979 fall season, categorizing shows for indicators such as economic need. Johnson found, for example, occupations were substantially different than the real world, with workers in high prestige jobs enjoying personal freedom and exercising control over their work environment. Non-upper-middle-class workers appeared as service workers in minor and dispensable roles. “Whether through malice or ignorance,” Johnson writes, “television has avoided any realistic presentation of work, workers, and workers’ organizations. Television has filled our fantasies with upper-middle-class pictures and distorted our perceptions of the world by making it appear that everyone else has more of everything that we do and that to a productive worker is to be a nobody. It may be difficult to fight unflattering stereotypes; it is even more difficult to fight an image that barely exists.”
--Phil Glende television, and values values Glende, Phil labor television labor labor, and television (1970s) television, and labor values, and television values Johnson, Ralph Arthur World Without Workers: Prime Time's Presentation of Labor 830 Johnson, Ralph Arthur and Judith L. Catlett Expanding the Effectiveness of the Phone Bank Labor Studies Journal
Fall 1986
11 2 149-55 See also: office Johnson and Catlett argue that organized labor should make greater use of its phone bank system to survey members and determine their interests. They argue that labor effectively used the phone bank for decades to mobilize members to register, vote, and take political action. In addition, the phone bank could be used to regularly communicate with rank-and-file members about their concerns and priorities. The key, they argue, is to reverse the flow of information, so that phone bank operators are not delivering a message from union leaders but rather asking questions of members and delivering the responses to unions leaders. “Using the telephone not to talk, but to listen, will bring members’ needs and attitudes to the organization,” Johnson and Catlett argue. “The challenge of the interactive phone bank is to break the one-way communication habit. While labor explores the opportunities to alter mass opinion through the major media, it can experiment with new methods of using familiar technologies to talk directly with members.”
--Phil Glende reform Glende, Phil telephones labor labor, and telephones telephones, and labor reform, and telephones telephones, and reform Johnson, Ralph Arthur and Judith L. Catlett Expanding the Effectiveness of the Phone Bank 29790 Johnson, Richard M. New Technologies, Old Politics: Political Dimensions in the Management of Academic Support Services New Directions for Higher Education
Summer, 1995
90 19-31 Johnson writes that the "library 'as place' is being debated in the vision of tomorrow's campus. Library administrators must move the library to a central role in services, technology, and organization for it to remain an integral part of the university's intellectual life." At the time of this article, Johnson was a professor of political science and a former Vice Chancellor for Academic Affairs at the University of Illinois, Chicago. computers computers libraries information storage digital media education libraries, and new media libraries, and digital media computers and the Internet computers, and libraries libraries, and computers Johnson, Richard M. New Technologies, Old Politics: Political Dimensions in the Management of Academic Support Services 34870 Johnson [sic], Eric The Land of Calculated Risk Vital Speeches
July 1, 1951
17 559-62 This is a commencement address that Johnston delivered at the University of Oklahoma, June 4, 1951.He is identified as Administrator, Economic Stablization Agency, Washington, D. C. He talks about his hope for "the long-lasting spiritual rebirth of our country," and bringing "into more perfect balance the values of the spirit and soul and the advantages of our industrial empire." He concludes that "we are truly a besieged people -- not by armies but by frustration, materialism, and cynicism." (562) Motion Picture Association of America (MPAA) Johnston, Eric motion pictures motion pictures, and foreign market motion pictures, and Eric Johnston MPAA Johnston, Eric, and Johnson [sic], Eric The Land of Calculated Risk 33210 Johnson, Steven How the E-Book Will Change the Way We Read and Write Wall Street Journal
April 20, 2009
R 1, 3 This article offers a concise account of how digital media have changed, and may well continue to change, the way we write and read books. The author argues that digitization "may well end up undermining some of the core attributes that we have associated with book reading for more than 500 years." (R1) Noting that Google had now scanned about 10 million titles, the author speculates that "2009 may well prove to be the most significant year in the evolution of the book since Gutenberg hammered out his original Bible." (R3) Not only will how we write books and read them change, but how we find them will be transformed also. "Before we can get too far in this new world, we need to have a technological standard for organizing digital books." (R3) The currently used URL, which was adopted during the early 1990s, may not be adequate to this task. reading Google computers digital media books, periodicals, newspapers information storage history and new media democracy computers and the Internet democracy, and digital media digital media, and democracy digital media, and information storage Google, and digital books information storage, and digital media non-USA non-USA, and digital media Europe, and digital media Europe Europe, and information storage books, and digital media digital media, and books books, and reading digital media, and reading reading, and digital media books, and computers computers, and books Google, and E-books E-books books, and E-books books computers history Johnson, Steven How the E-Book Will Change the Way We Read and Write 23020 Johnson, Weldon T. Lenore R. Kupperstein W. Cody Wilson, et al. The Impact of Erotica: Report of the Effects Panel to the Commission on Obscenity and Pornography Report of the Commission on Obscenity and Pornography Washington, D.C. U. S. Government Printing Office
1970
139-263 See also: violence See also: sexuality This report on the impact of erotica was part of the work of the 1970 President's Commission on Obscenity and Pornography. Alfred Kinsey and his associates during the 1950s noted that people often reacted differently according to the medium (e.g., text, still pictures, moving pictures) through which they received erotic stimuli. Some years later, the 1970 Report pointed to research that showed erotic films tended to produce more sexual arousal among viewers than photographs or written text. eroticism social science research values sexuality values media effects crime law censorship and ratings censorship pornography censorship, and pornography pornography, and censorship motion pictures, and pornography motion pictures motion pictures and popular culture Commission on Obscenity and Pornography (1970) pornography, and social science social science research, and pornography pornography, and government pornography, and Johnson administration pornography, and Nixon administration obscenity, and pornography censorship, and obscenity obscenity, and censorship pornography, and foreign censorship, and foreign obscenity media effects, and pornography pornography, and media effects eroticism, and media effects media effects, and eroticism pornography, and supporters, bibliographies bibliographies, and pornography (effects) bibliographies, annotated, and pornography (effects) crime, and pornography pornography, and crime media effects bibliographies W. Cody Wilson, et al. The Impact of Erotica: Report of the Effects Panel to the Commission on Obscenity and Pornography 36660 Johnson, William Coming to Terms with Color Lewis Jacobs The Movies As Medium New York Farrar, Straus & Giroux
1970
210-42 The author notes that during the 1960s, "many" movie makers -- not just "some" -- tried to use color in motion pictures. "Instead of balking at this heightened awareness of colors, many viewers reveled in it for its own sake. And if theater managers are to be believed, a majority of moviegoers in America today [1966] look upon color as a decorative wrapping that adds pleasure to an film." (221) The author comments on how black-and-white film had come to represent the past while color "has more immediacy." (232) This article originally appeared in Film Quarterly (Fall, 1966). technology corporations corporations motion pictures color cameras motion pictures, and cameras motion pictures, and color color, and motion pictures sound recording motion pictures, and sound recording sound recording, and motion pictures photography technology and society materials materials cinema motion pictures celluloid non-USA motion pictures and popular culture photography and visual communication cameras, and motion pictures film Technicolor Eastman Kodak Cinemascope celluloid technology, and motion pictures motion pictures, and technology color, and Eastman Kodak color, and Technicolor technological determinism media literacy motion pictures, and media literacy media literacy, and motion pictures history and new media history, and color film history, and black-and-white film history Johnson, William Coming to Terms with Color 35130 Johnston, Eric America Unlimited Garden City, N. Y. Doubleday, Doran and Company, Inc.
1944
This book was published when Eric Johnston was President of the United States Chamber of Commerce. He makes an energetic defense of American capitalism and the Horatio Alger myth. He says that the "American economic setup has been predominantly private capitalist. It must remain predominantly private capitalist. But that does not arbitrarily exclude the utilization of state power and state economy for specific purposes." (34) He goes on to offer qualified criticism of the New Deal and to say that "we believe in the middle way: the way of realistic adjustment between old-style laissez-faire capitalism and current economy." (37) He says that the "main evil of the New Deal period ... was its spirit of vendetta and class warfare -- its refusal to explore and exploit areas of agreement." (75) He calls for the expansion of capitalism. "We are only at the foothills of production, with mountains still to climb." (116) He sees future competition between the U. S. and USSR. "Russia and the United States will represent two extremes, and their inevitable competition for world markets will have about it something truly titanic. One is history's greatest democratic capitalist society, the other the greatest collectivist society ever known; one is people's capitalism at its best, the other state capitalism at its strongest." (229) In 1945, Johnston became President of the Motion Picture Association of America. Truman administration Motion Picture Association of America (MPAA) addresses, Eric Johnston self-regulation nationalism community addresses motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code democracy democracy, and capitalism capitalism, and democracy Truman, Harry democracy capitalism nationalism and communication capitalism, and nationalism Cold War freedom MPAA Production Code Production Code (motion pictures) war advertising and public relations values Johnston, Eric America Unlimited 16850 Johnston, Eric American Films Around the World [Guest Editorial] Boxoffice
Oct. 22, 1962
82 1 Johnston, then president of the Motion Picture Association of America, discusses the porminent role in the world played by American movies. A copy of this piece is in Folder 8, Box 6, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. non-USA ? motion pictures and popular culture motion pictures motion pictures, and U.S. films abroad Johnston, Eric Johnston, Eric, and democracy motion pictures, and democracy Johnston, Eric, and U. S. films abroad Johnston, Eric American Films Around the World [Guest Editorial] 16570 Johnston, Eric American Movies in World Perspective [Lecture at the Warren R. Austin Institute of World Understanding, University of Vermont, Burlington, VT Eric A. Johnston Papers
July 28, 1958
Folder 84, Box 7, MS 118 Eric Johnston, president of the Motion Picture Association of American, discusses the role of American films abroad. Iron Curtain countries made up a small percentage of Hollywood films shown abroad. By 1960, the foreign market for American movies dwarfed attendance in the United States. Johnston boasted that 100,000 theaters around the world ran American movies. Motion Picture Association of America (MPAA) Classification and Rating Administration addresses, Eric Johnston MPAA CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations propaganda public relations archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom capitalism non-USA archives addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism motion pictures, and U.S. films abroad Johnston, Eric American Movies in World Perspective [Lecture at the Warren R. Austin Institute of World Understanding, University of Vermont, Burlington, VT 16770 Johnston, Eric Classification: A Noise or an Echo? Journal of the Screen Producers Guild
Sept., 1961
Eric Johnston, president of the Motion Picture Association of America, expresses his opposition to government classification of movies. A copy of this material is in Folder 85, Box 7, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. Motion Picture Association of America (MPAA) Classification and Rating Administration classification MPAA self-regulation Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) censorship and ratings NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures motion pictures, and classification classification, and motion pictures Johnston, Eric, and classification classification, and Eric Johnson Johnston, Eric MPAA, and classification classification, and MPAA Johnston, Eric Classification: A Noise or an Echo? 16610 Johnston, Eric The Code Is 25 49th Variety Anniversay
1955
Johnston, the president of the Motion Picture Association of America, rejected the view that movie-goers were childlike or vulnerable. “The old bugaboo about the average American having the average intelligence of a twelve-year-old child, has gone by the board,” he wrote on the twenty-fifth anniversary of the Code. Guarding against violence, sex, and other such issues -- if indeed he believed audiences needed such protection -- should depend not on censors but a “heightened sense of responsibility” among the producers of all mass media and the public. Johnston presided over the decline of the Production Code which had been used since 1930 by Hollywood to censor movies. The Code was revised in 1956 and a decade later, it was all but dead. A copy of this piece is in Folder 8, Box 6, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. addresses, Eric Johnston self-regulation Production Code values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) values religion addresses motion pictures and popular culture motion pictures Johnston, Eric Johnston, Eric, and Production Code Production Code, and Eric Johnston Production Code, and decline of Johnston, Eric The Code Is 25 16940 Johnston, Eric Conversation with Richard Nixon Eric A. Johnston Papers
March 11, 1960
Folder 31, Box 9, MS 118 Notes on Eric A. Johnston's meeting with Vice President Richard Nixon. Nixon askes for his advise on likely campaign against John F. Kennedy. Johnston says most of Hollywood is too liberal for him. Johnston was then president of the Motion Picture Association of America. A copy of this material is in Folder 31, Box 9, MS 118, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA Nixon, Richard presidents, and new media archives Nixon administration motion pictures and popular culture motion pictures Johnston, Eric Johnston, Eric, and Richard Nixon Nixon, Richard, and Eric Johnston archives Johnston, Eric, and liberals Johnston, Eric Conversation with Richard Nixon 34880 Johnston, Eric Film Knows No International Barriers Motion Picture Letter
Feb., 1947
6 2 Folder: "Motion Picture [Research] Clippings," Box 3, Files of Dallas C. Halverstadt, Harry S. Truman Library, Independence, MO “Film knows no international barriers,” Eric A. Johnston, president of the MPAA, told members of the U. S. House of Representatives in late 1946(?), and the American movie industry was “geared to a world market.” It was in the best interest of the United States to promote expansion of the film industry for two reasons. First, cinema was “the greatest conveyor of ideas the most revolutionary force in the world today,” he said. Second, the industry occupied an important and growing place in the nation’s commercial life, both domestically and internationally. To critics, he promised that Hollywood would “be more discriminating in the type of pictures set to other countries Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects capitalism capitalism, and motion pictures motion pictures, and capitalism Johnston, Eric Film Knows No International Barriers 16820 Johnston, Eric Finds Trade Barriers Impinge Screen Freedom: Eric Johnston Replies to Sir Alexander Korda's Charges Against Hollywood New York Times
Dec. 15, 1946
Eric Johnston, who replaced Will Hays as president of the Motion Picture Association of America in 1945, emphasized expanding markets for American films and weakening foreign quotas placed on U.S. movies. A copy of this article is in Folder 7, Box 6, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA capitalism non-USA motion pictures and popular culture motion pictures motion pictures, and critics Johnston, Eric Johnston, Eric, and critics motion pictures, and U.S. films abroad motion pictures, and Great Britain Johnston, Eric, and U. S. films abroad Great Britain, and U. S. films MPAA, and Great Britain capitalism, and motion pictures Great Britain Johnston, Eric Finds Trade Barriers Impinge Screen Freedom: Eric Johnston Replies to Sir Alexander Korda's Charges Against Hollywood 35140 Johnston, Eric The High Cost of Bigotry (Address Broadcast Over the ABC National Network, 1951) New York: National Conference of Christian and Jews
1951
Johnston argues in this address launching the 1951 observance of Brotherhood Weeks, sponsored by the National Conference of Christians and Jews, that in the current world crisis, America cannot afford bigotry. "Bedsheets belong on beds," he said in reference to the Ku Klux Klan. (9) Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects capitalism capitalism, and motion pictures motion pictures, and capitalism motion pictures, and bigotry Johnston, Eric, and bigotry Johnston, Eric The High Cost of Bigotry (Address Broadcast Over the ABC National Network, 1951) 16350 Johnston, Eric Hollywood: America's Traveling Salesman [Address to the New York Sales Executive Club, New York] Eric A. Johnston Papers
May 28, 1957
Folder 84, Box 7, MS 118 Motion Picture Association of American president, Eric A. Johnson, saw movies as a means to assist capitalism, and to spread the American Way economically. Where his predecessor Will H. Hays had referred to cinema as America’s “international salesman,” Johnston described Hollywood as “America’s traveling salesman to all the world.” A copy of this piece is in Folder 84, Box 7, MS 118, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. Motion Picture Association of America (MPAA) Classification and Rating Administration addresses, Eric Johnston MPAA CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations propaganda public relations archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom capitalism non-USA archives addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism motion pictures, and U.S. films abroad Johnston, Eric Hollywood: America's Traveling Salesman [Address to the New York Sales Executive Club, New York] 16910 Johnston, Eric How I Got the Job [Notes on Johnston Recollections - Friday, March 31] Eric A. Johnston Papers Folder 20, Box 9, MS 118 In this account, Eric Johnston explains how he got the job as president of the Motion Pictures Association of America in 1945. Hollywood executives spoke with Johnston in 1944 and told him that Will H. Hays would soon retire from the MPPDA and be retained in a ceremonial post. The idea of heading the movie industry intrigued Johnston, although a highly placed friend in the Justice Department told him that he “had enough on Hays to put him behind bars for 50 years.” And Hays, for his part, did not appear ready to go. Walter Winchell reported that he had gone to the White House in a futile effort to gather President Harry S. Truman’s support. Johnston cautiously refused to take the film post until Hays was out of the way. This material is in Folder 20, Box 9, MS 118, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. Motion Picture Association of America (MPAA) Classification and Rating Administration MPAA CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA motion pictures and popular culture motion pictures archives Johnston, Eric Johnston, Eric, and MPAA MPAA, and Eric Johnston Johnston, Eric How I Got the Job [Notes on Johnston Recollections - Friday, March 31] 35050 Johnston, Eric Ideology for Democracy New York Motion Picture Association of America
[1948]
This address was delivered to the Iowa State Education Association, Nov. 5, 1948, in Des Moines, Iowa. In it, Johnston (then president of the MPAA) that "the democratic world at the moment is not winning in the struggle against international communism.." Communism "is on the ascendancy. It has stepped up in momentum." (2) He goes on to say that "the democratic world is sicker than we thought. The task of helping it to its feet is more formidable than we thought." (9) He proposes "a vast extension of 'partnership capitalism'," which meant "American private capital and business genius in partnership with the capital, the manpower and the resources of other countries." (10) He urged a "permanent World Economic Development Corporation." (10) Americans, he says, "are a daring people, a reckless people, a determined people, a courageous people" and that "this is a time for trumpets to resound to the uttermost parts of the earth: to rally men everywhere who believe in the righteousness of freedom and the nobility of man...." (11) Truman administration Motion Picture Association of America (MPAA) addresses, Eric Johnston self-regulation community addresses motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code democracy democracy, and capitalism capitalism, and democracy Truman, Harry democracy capitalism Cold War freedom MPAA Production Code Production Code (motion pictures) war advertising and public relations values Johnston, Eric Ideology for Democracy 34950 Johnston, Eric The Impact of U. S. Motion Pictures Abroad (report to the Board of Directors, MPAA)
April, 1961
Folder 8, Box 6, Ms 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA Johnston, the president of the MPAA, says that "among all media of mass communication, the American film ranks first in universal appeal." (2) The report then offers quotations from leaders around the world about the influence of motion pictures. Motion Picture Association of America (MPAA) addresses, Eric Johnston self-regulation nationalism archives addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code Production Code, and Eric Johnston children, and Eric Johnston Johnston, Eric, and foreign markets advertising and public relations motion pictures, and foreign markets nationalism and communication motion pictures, and foreign policy capitalism motion pictures, and capitalism capitalism, and motion pictures children freedom Production Code Production Code (motion pictures) children, and media Johnston, Eric The Impact of U. S. Motion Pictures Abroad (report to the Board of Directors, MPAA) 34810 Johnston, Eric Messengers from a Free Country Saturday Review of Literature
March 4, 1950
33 9 9-12 In this article, Johnston, the president of the MPAA, responds to three earlier articles by Norman Cousins in The Saturday Review that argued that the impact of Hollywood movies abroad damaged the world's perception of America and of Americans. Here Johnston lists many movies he believes are ambassadors of good will for the U. S. He argues that "American feature films produced for entertainment" have a powerful "educational value." (10) He maintains that movies showing the abundance of American prosperity, "what Mr. Cousins sloughs off as 'dazzling gadgets' adds up to our stand of living" (11) and that the "thread of the democratic story runs through" these films "without calculated emphasis, but with the more powerful emphasis of suggestion." (12) See Cousins response that follows in this issues (pp. 12-13, 28). Truman administration Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Truman, Harry presidents and new media motion pictures, and Harry Truman Truman, Harry, and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects Cousins, Norman Johnston, Eric Messengers from a Free Country 34820 Johnston, Eric Mirrors of Society Américas
July, 1955
7 7 3-6 Johnston, then president of the MPAA, explains the international role of American movies. He says that "super-nationalistic films have little international appeal" and "they rob the state they are supposed to serve of an important tool for winning world understanding." Hollywood's influence in the world was "explained by its cosmopolitan nature. Hollywood has become a Mecca for the creative and the artistic from many lands," Johnston wrote, "offering a warm welcome in exchange for skills and backgrounds that are of inestimable value to its film production." (4) He went on to say that "motion pictures have made drama out of history and history out of drama. Social values and ethics have been given mass circulation they never had before." (5) Motion Picture Association of America (MPAA) Soviet Union self-regulation nationalism MPAA motion pictures, and Production Code Administration (PCA) Eisenhower administration motion pictures and popular culture motion pictures Production Code Production Code, and decline of motion pictures, and Production Code motion pictures, and PCA nationalism and communication motion pictures, and nationalism Cold War war Johnston, Eric capitalism motion pictures, and communism Eisenhower, Dwight D. presidents and new media motion pictures, and Dwight Eisenhower Eisenhower, Dwight D., and motion pictures motion pictures, and drinking military communication motion pictures, and military motion pictures, and U.S. foreign policy MPAA, and foreign policy MPAA, and Truman administration MPAA, and Cold War USSR motion pictures, and USSR propaganda democracy motion pictures, and democracy media effects motion pictures, and media effects Johnston, Eric Mirrors of Society 34850 Johnston, Eric The Modern Tool for Teaching (Address delivered over the American Broadcasting Company) Files of Dallas C. Halverstadt
Sept. 1, 1946
Folder "Motion Picture Assoc. (Johnston Office)," Box 3 Folder "Motion Picture Assoc. (Johnston Office)," Box 3, Harry S. Truman Library, Independence, MO In this address delivered over he American Broadcasting Company, Sept. 1, 1946, Johnston, then MPAA president, says that movie theaters are "centers of community life, pleasant parts of your individuals everyday life." (1) Cinema "can be a medium of enlightenment unlike any other ever dreamed about" because it "combines all the arts" and "is men's nearest approach to a universal language. It re-creates life." (2) In the struggle to "capture the minds of men," (5)movies offer the possible to defeat "ignorance, inteolerance, injustice" (7) through reason rather than coercion. Motion Picture Association of America (MPAA) addresses, Eric Johnston archives addresses motion pictures and popular culture motion pictures motion pictures, and education education education, and motion pictures MPAA MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism motion pictures, and U.S. films abroad capitalism freedom Johnston, Eric The Modern Tool for Teaching (Address delivered over the American Broadcasting Company) 16240 Johnston, Eric The Motion Picture: Advertisement for Freedom [an address delivered to the Advertising Club of Metropolitan Washington, Washington, D. C.] Eric A. Johnston Papers
Sept. 25, 1962
Folder 85, Box 7, MS 118 Eric Johnston, president of the Motion Picture Association of America, argued that movies were potent weapons in the Cold War against communism. An ardent foe of communism, he argued that movies gave the United States an advantage over the Soviet Union, were “America’s best advertisement to the world,” its most persuasive medium of ideas. Hollywood got something in return for its support of U. S. foreign policy. Johnston enlisted Secretary of State George C. Marshall in 1948 to end outside quotas placed on Hollywood movies. This piece is in Folder 85, Box 7, MS 118, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. Motion Picture Association of America (MPAA) Classification and Rating Administration addresses, Eric Johnston MPAA self-regulation Production Code CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations propaganda public relations values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom values religion censorship and ratings children capitalism archives addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code Production Code, and Eric Johnston children, and Eric Johnston Johnston, Eric, and children motion pictures, and children children, and motion pictures children, and media Johnston, Eric The Motion Picture: Advertisement for Freedom [an address delivered to the Advertising Club of Metropolitan Washington, Washington, D. C.] 3010 Johnston, Eric The Motion Picture as a Stimulus to Culture The Annals of The American Academy of Political and Social Science
Nov., 1947
98-102 Eric Johnston, then president of the Motion Picture Association of America, says the influence of motion pictures is "immeasurable." He argues that movies can "break down barriers of misunderstanding among nations as readily as it has broken down lesser barriers within this country." nationalism nationalism imperialism public relations advertising propaganda values motion pictures education cultural imperialism law law censorship and ratings censorship capitalism war audiences motion pictures and popular culture regulation, and motion pictures audiences, and motion pictures motion pictures, and audiences censorship, and motion pictures motion pictures, and censorship values values, and motion pictures motion pictures, and values media effects media effects, and motion pictures propaganda, and motion pictures education, and motion pictures Cold War Cold War, and propaganda films nationalism and communication nationalism, and motion pictures capitalism, and motion pictures motion pictures, and capitalism cultural imperialism, and motion pictures regulation military communication public relations advertising and public relations Johnston, Eric The Motion Picture as a Stimulus to Culture 16620 Johnston, Eric Motion Pictures and Social Responsibility [Address to International Social Service, New York, N.Y.] Eric A. Johnston Papers
Nov. 12, 1958
Folder 84, Box 7, MS 118 Eric Johnston, then president of the Motion Picture Association of America, saw movies as potent weapons in the Cold War against communism. Seemingly innocent entertainment films offered the best propaganda. By merely showing the standard of living of Americans they contrasted with the starkness of daily life in communist nations, he said. This piece is in Folder 84, Box 7, MS 118, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. R & D Motion Picture Association of America (MPAA) Classification and Rating Administration addresses, Eric Johnston MPAA self-regulation Production Code CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations values religion advertising propaganda) public relations censorship and ratings Production Code (motion pictures) Production Code (motion pictures) archives MPAA NATO MPAA CARA Heffner, Richard Valenti, Jack Johnston, Eric MPPDA motion pictures war research and development military communication community Cold War freedom children censorship and ratings capitalism war addresses motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code Production Code, and Eric Johnston children, and Eric Johnston Johnston, Eric, and children motion pictures, and children children, and motion pictures values democracy children, and media Johnston, Eric Motion Pictures and Social Responsibility [Address to International Social Service, New York, N.Y.] 16580 Johnston, Eric New Bridges to Understanding [Address before the World Newspaper Forum of the California Newspaper Publishers Association, Los Angeles, CA Eric A. Johnston Papers
Oct. 14, 1960
Folder 85, Box 7, MS 118 Eric Johnston, president of the Motion Picture Association of American, discusses the role of American films abroad. Iron Curtain countries made up a small percentage of Hollywood films shown abroad. By 1960, the foreign market for American movies dwarfed attendance in the United States. Johnston boasted that 100,000 theaters around the world ran American movies. Although attendance in the United States had dropped to 40-45 million a week, down a half from fifteen years earlier, abroad nearly 250 million saw American films weekly. Motion Picture Association of America (MPAA) Classification and Rating Administration addresses, Eric Johnston MPAA CARA Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations propaganda public relations archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA freedom capitalism non-USA archives addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism motion pictures, and U.S. films abroad Johnston, Eric New Bridges to Understanding [Address before the World Newspaper Forum of the California Newspaper Publishers Association, Los Angeles, CA 36210 Johnston, Eric On Films and the Soviet Union Eric A. Johnston Papers
Nov. 26, 1958
Folder 7, Box 6, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA In 1958, Eric Johnston, president of the Motion Picture Association of America, negotiated an exchange program with the Soviet Union. The Soviets agreed that ten American films and seven Soviet pictures would be exhibited in the United States. These were the first new American films shown in the USSR since World War II. In the article prepared for Variety, Johnston talks about the Soviet film industry. The Soviets took their cinema seriously. “Of all the arts,” a sign that Johnston had seen in Tashkent read, “the motion picture is the most important to us.” The Soviets eschewed the star system and actors were generally at the bottom of the production pecking order, but it was clear that they liked American stars. Getting Hollywood films into the USSR, Johnston realized, would be a coup. In addition to the 5,500 theaters there were perhaps another 50,000 places where movies were shown. “There is hardly a village from the Artic to the vast deserts of the south that is untouched by the motion picture,” he reported.
This material appeared in Eric Johnston, "On Films and the Soviet Union," Variety, Nov. 26, 1958. See also Folder 7, Box 6, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA Motion Picture Association of America (MPAA) addresses, Eric Johnston Soviet Union self-regulation community addresses motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johnston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures archives addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code Production Code, and Eric Johnston children, and Eric Johnston Johnston, Eric, and children motion pictures, and children children, and motion pictures USSR USSR, and motion pictures motion pictures, and USSR non-USA capitalism children Cold War freedom MPAA Production Code Production Code (motion pictures) war advertising and public relations children, and media values Johnston, Eric On Films and the Soviet Union 36120 Johnston, Eric Opening Remarks, Feb. 25, 1958, Committee for International Economic Growth Foreign Aspects of U. S. National Security: Conference Report and Proceedings Washington, D. C. Committee for International Economic Growth
1958
20-21 In early 1958, President Dwight Eisenhower asked Eric Johnston to organize a bipartisan conference of opinion leaders. The goal was "to inform a large spectrum of citizen opinion leaders about the value of American aid to foreign countries with the expectation “that they would then carry the message to an every large circle of U. S. citizensAmong those who attended were Eisenhower, Richard Nixon, Harry Truman, Adlai Stevenson, Lyndon Johnson, and John Foster Dulles. In his remarks, Johnston called the conference "the beginning, only a beginning. It is a moment in which we might plant seeds. The seeds, if we wish to plant them, will need our devoted care and cultivation in the days, the months, and the years ahead." Motion Picture Association of America (MPAA) addresses, Eric Johnston archives addresses motion pictures and popular culture motion pictures motion pictures, and education education education, and motion pictures MPAA MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism motion pictures, and U.S. films abroad capitalism freedom Johnston, Eric Opening Remarks, Feb. 25, 1958, 16860 Johnston, Eric [Oral History] Eric A. Johnston Papers Folder 8, Box 6, MS 118 Johnston discusses his early life and career, including his time as president of the U. S. Chamber of Commerce. This materials is in Folder 8, Box 6, MS 118, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA Biography, Autobiography, Oral Histories Biography, Autobiography, Memoirs, Oral Histories archives oral histories Johnston, Eric motion pictures and popular culture motion pictures motion pictures, and Eric Johnston Johnston, Eric [Oral History] 16810 Johnston, Eric Our Critics! Variety (43rd Anniversary Number) by MPAA
Jan. 5, 1949
Eric A. Johnston, president of the Motion Picture Association of America, speaks to his critics. This piece is in Folder 7, Box 6, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. motion pictures and popular culture motion pictures motion pictures, and critics Johnston, Eric Johnston, Eric, and critics Johnston, Eric Our Critics! 35060 Johnston, Eric Report from Europe New York Motion Picture Association of America
nd
In this piece, originally published in Screen Writer, probably during the late 1940s or early 1950s, Johnston (then president of the MPAA) discusses the impact of American movies abroad and answer critics who say that Hollywood movie makers have been irresponsible and projected a poor image of the U. S. In notes that John Ford's movie Grapes of Wrath was pirated and shown in Yugoslavia under the title "The Paradise That Is America" as communist propaganda about poverty in the U. S. Johnston says that actually audiences there were more impressed that even poor people owned their own automobiles. (6) Johnston says that "the good among motion pictures far exceeds the bad." (7) Motion Picture Association of America (MPAA) addresses, Eric Johnston self-regulation community addresses motion pictures and popular culture motion pictures, and Eric Johnston motion pictures, and community Johnston, Eric, and community community, and motion pictures community, and Eric Johston motion pictures, and Cold War Cold War, and motion pictures capitalism, and motion pictures motion pictures, and capitalism values, and motion pictures addresses motion pictures and popular culture motion pictures motion pictures, and advertising advertising advertising, and motion pictures MPAA, and Eric Johnston Johnston, Eric motion pictures, and freedom freedom, and motion pictures Johnston, Eric, and capitalism capitalism, and Eric Johnston motion pictures, and capitalism motion pictures, and foreign policy motion pictures, and anticommunism Production Code, and decline of Johnston, Eric, and Production Code democracy democracy, and capitalism capitalism, and democracy capitalism Cold War freedom MPAA Production Code Production Code (motion pictures) war advertising and public relations values Johnston, Eric Report from Europe 16970 Johnston, Eric Report on Visit to the President -- January 7, 1959 Eric A. Johnston Papers
Jan. 7, 1959
Folder 24, Box 9, MS 118 Johnston's notes on visit to the White House regarding a newsreel of Eisenhower and Nikita Khrushchev. This material is in Folder 24, Box 9, MS 118, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. Eisenhower, Dwight D. presidents, and new media archives Eisenhower administration motion pictures and popular culture motion pictures Johnston, Eric Johnston, Eric, and Dwight Eisenhower Eisenhower, Dwight, and Eric Johnston archives Johnston, Eric, and Soviet Union Johnston, Eric Report on Visit to the President -- January 7, 1959 16930 Johnston, Eric Selection of Films for the Family Eric A. Johnston Papers
Feb. 21, 1962
Folder 8, Box 6, MS 118 Responsibility for what children saw in the movie rested with the family, Eric Johnston believed. Good parents would take responsibility in this arena, Johnston said in 1962. He opposed any classification scheme that designated motion pictures appropriate for different age groups: it was unworkable because no one was wise enough to classify films for everyone; it undermined individual and parental responsibility; and was unnecessary because citizens had information on which to base decisions. Johnston was then president of the Motion Picture Association of America. This material is in Folder 8, Box 6, MS 188, Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. Motion Picture Association of America (MPAA) Classification and Rating Administration classification addresses, Eric Johnston MPAA self-regulation Classification and Rating Administration (CARA) National Association of Theatre Owners (NATO) advertising, and public relations censorship and ratings propaganda advertising public relations archives NATO CARA Heffner, Richard Valenti, Jack Johnston, Eric MPAA law censorship and rating system (U. S.) rating system (U. S.) censorship classification motion pictures and popular culture motion pictures motion pictures, and classification classification, and motion pictures Johnston, Eric, and classification classification, and Eric Johnson Johnston, Eric MPAA, and classification classification, and MPAA motion pictures, and public relations MPAA, and public relations public relations, and MPAA public relations, and motion pictures addresses? Johnston, Eric Selection of Films for the Family 16590 Johnston, Eric Statement Hearings, U. S. House of Representatives Postal Operations Subcommittee Feb. 2, 1960 Eric Johnston told this congressional committee in 1960 that the movie industry's Production Code had been created to assure “breadth and diversity, not blind conformity.” Nor was it intended to guarantee “all films are suitable for the entire family.” No person qualified “to pass in advance on what the rest of us in America may read or not read, may hear or not hear, may see or not see.” Johnston expressed his opposition to government classification of films. During Johnston's presidency of the Motion Picture Association of America (1945-1963), the Production Code was revised and its enforcement liberalized. A copy of this statement is in the Johnston Papers, Folder 87, Box 7, MS 118, Eric A. Johnston Papers, Eastern Washington State Historical Society, Spokane, WA. self-regulation Production Code government hearings values censorship and ratings Production Code (motion pictures) Production Code (motion pictures) archives government values religion hearings Johnston, Eric Johnston, Eric, and Production Code motion pictures and popular culture motion pictures motion pictures, and Congress Production Code, and Eric Johnston Production Code, and decline of Johnston, Eric Statement 35270 Johnston, Eric Statement and Testimony Hearings, Overseas Information Programs of the United States, U. S. Congress, Senate. Subcommittee of the Committee on Foreign Relations, Eighty-Third Congress, First Session March 6, 1953 231-91 (Washington, D. C.: U. S. Government Printing Office, 1953) Johnston, who was then president of the Motion Picture Association of America, discusses the role of foreign markets in the American film industry. For Johnston and many of the studio executives, the Production Code seemed more of a hindrance than a help in attracting a global audience. When Johnston testified before members of the U. S. Senate Foreign Relations Committee in 1953, he told Senator J. William Fulbright that the Production Code was “very rigid” and “far more rigid than the code of any other country. In fact,” he said, “most other countries don’t even have a code.” (280) Moreover, in dealing with perhaps 70 or 80 countries worldwide, it was “almost impossible to set up a standard formula,” (290) he told Senator Karl Mundt. The MPAA therefore advised studios on a country-by-country basis. One picture might be “suitable for Norway” but “u