Science, observation and entertainment: Competing visions of postwar British natural history television, 1946-1967

Popular culture is not the endpoint for the communication of fully developed scientific discourses; rather it constitutes a set of narratives, values and practices with which scientists have to engage in the heterogeneous professes of scientific work. In this paper I explore how one group of actors, involved in the development of both postwar natural history television and the professionalization of animal behaviour studies, manage this process. I draw inspiration from sociologists and historians of science, examining the boundary work involved in the definition and legitimation of scientific fields. Specifically, I chart the institution of animal ethology and natural history film-making in Britain through developing a relational account of the co-construction of this new science and its public form within the media. Substantively, the paper discusses the relationship between three genres of early natural history television, tracing their different associations with forms of public science, the spaces of the scientific field and the role of the camera as a tool of scientific observation. Through this analysis I account for the patterns of cooperation and divergence in the broadcasting and scientific visions of nature embedded in the first formations of the Natural History Unit of the British Broadcasting Corporation

The ear against the eye : Vertov’s symphony

Vertov defined the basic qualities of his Cine-Eye by means of a simple negation: it sees what remains inaccessible to the human eye. This means that in his films we see media-based and media-produced images that have nothing to do with the imitation of human perception. According to Vertov, such filmic, telescopic, or microscopic perception develops, educates, and expands the viewer’s analytical abilities. Thus, we have on the one hand a media-induced perception and on the other a new assemblage or montage of the fragments of this mediated perception. This new montage is based on a specific interaction and follows poetic rather than prosaic rules. It is freed from such constraints as time, space, causality, or speed. In other words it is based on properly media-specific qualities and, following the terminology of the Russian Futurists who influenced Vertov in his youth, it constitutes zaum or transrationality

“Dr. Satan’s Echo Chamber: reggae, technology and the diaspora process,” reprint.

Reprint of an essay first published in 1997.Published versio

Spartan Daily, February 8, 1977

Volume 68, Issue 5https://scholarworks.sjsu.edu/spartandaily/6159/thumbnail.jp

Picturing Argentina: Myths, Movies, and the Peronist Vision

No individual has had greater impact on Argentine history than Juan Domingo Perón. The years 1943–1945, when he was an influential member in his nation’s governing junta, and 1946–1955, when he was its president, were tumultuous ones that transformed Argentina. Perón was a highly controversial figure, and his memory continues to provoke intense and often acrimonious debate. Moreover, the nature of his legacy resists neat classification. Many of his achievements were positive. He oversaw the passage of progressive social legislation, including women’s suffrage and prison reform, and he implemented programs that aided the nation’s poor and working classes. On the other hand, he tolerated no opposition and, as president, incarcerated even former supporters who questioned his actions, and he ordered the closure of newspapers that he judged inappropriately critical. His regime’s impact on the nation’s cinema is similarly difficult to classify. When Perón came to prominence, Argentina had developed one of the two major film industries in Latin America. His government intervened in this sphere to an unprecedented degree and in contradictory ways. It encouraged production by providing financial credits for filmmakers, and in 1948 Perón and his wife, Evita, a former actress, presided over the inauguration of the nation’s international film festival in Mar del Plata. Conversely, his administration blacklisted a remarkable number of directors and performers, censored and prohibited movies, and required all films made in Argentina to portray his regime’s accomplishments in a favorable manner. Although Perón’s central role in Argentine history and the need for an unbiased assessment of his impact on his nation’s cinema are beyond dispute, the existing scholarship on the subject is limited. In recent decades Argentina has witnessed a revival of serious film study, some of which has focused on the nation’s classical movies and, in one case, on Peronism. None of this work has been translated into English, however. The only recent book in English to study this topic divides its attention between Argentine cinema and radio and dedicates only one chapter to film during the Perón years. Picturing Argentina: Myths, Movies, and the Peronist Vision is the first English-language book that offers an extensive assessment of Argentine cinema during first Peronism. It is also the first study in any language that concentrates systematically on the evolution of social attitudes reflected in Argentine movies throughout those years and that assesses the period’s impact on subsequent filmmaking activity. By analyzing popular Argentine movies from this time through the prism of myth—second-order communication systems that present historically developed customs and attitudes as natural—the book traces the filmic construction of gender, criminality, race, the family, sports, and the military. It identifies in movies the development and evolution of mindsets and attitudes that may be construed as “Peronist.” By framing its consideration of films from the Perón years in the context of earlier and later ones, it demonstrates that this period accelerates—and sometimes registers backward-looking responses to—earlier progressive mythic shifts, and it traces the development in the 1950s of a critical mindset that comes to fruition in the “new cinema” of the 1960s. [From the Publisher]https://cupola.gettysburg.edu/books/1053/thumbnail.jp

Love is in the Airwaves: Contesting Mass Incarceration with Prisoners\u27 Radio

Building on bell hooks’ conceptualization of love as a mode of political resistance, this article explores how prisoners’ radio employs love to combat injustice. Through an examination of two prisoners’ radio projects—The Prison Show in Texas and Restorative Radio in Kentucky—I argue that incarcerated people and their loved ones appropriate the radio to perform public and revolutionary acts of love, countering the oppressive forces of mass incarceration in the United States. By unapologetically positioning their love for prisoners front and center, ordinary Americans subvert systems of oppression which mark incarcerated folks as incapable and unworthy of love. Love is an intrinsic marker of humanity, so prisoners’ radio allows the incarcerated and their advocates on the outside to actively challenge the dehumanization that people face behind bars

Hip Hop and Social Justice Initiative

Something special, important, and transformative happens in the place where hip hop and technology meet. ZeroDivide first recognized the power of incorporating popular culture into a philanthropic strategy when the foundation began to identify, fund, and work with youth organizations on innovative projects. The Foundation discovered that when given the proper resources, youth activists possess a unique capacity to improve themselves and their communities. ZeroDivide funded programs that armed youth with crucial skills for the labor force, created new businesses, and encouraged civic action.This report demonstrates that these youth-centered efforts unlock the power of hip hop and technology. These new community-to-philanthropic partnerships offer exciting solutions to some of the most difficult questions of our time. They bring youth from the margins of society into the center of civic and economic activity, and make them key stakeholders in building a new America

Das Wisconsin Projekt : zwischen Neoformalismus, Kognitivismus und historischer Poetik ; eine Bibliographie

Das folgende Verzeichnis listet alle uns bekannt gewordenen Arbeiten des "Wisconsin-Projektes" auf. Rezensionen und Rezensionsartikel sind nur dann einzeln verzeichnet, wenn sie unserer Meinung nach eine nennenswerte Auseinandersetzung mit dem Entwurf einer historischen Poetik des Films beinhalten. Andere Rezensionen finden sich unter dem Eintrag der Monographien

Content analysis of children's programs on Boston's television stations

Thesis (Ed.M.)--Boston Universit