Social Sciences Media Studies

THE EARLY 2000s conjures images of inflatable furniture, flip phones, and low-rise jeans. It was a new millennium and the future looked bright, promising prosperity for all. The internet had arrived, and technology was shiny and fun. For many, it felt like the end of history: no more wars, racism, or sexism. But then history kept happening. Twenty-five years after the ball dropped on December 31st, 1999, we are still living in the shadows of the Y2K Era.

Si todos los pueblos tienen leyendas, cuentos e historias, México es prolija en ello, por su enorme cultura y tradición. Algunas muy antiguas, desde mucho antes de que vinieran los conquistadores hispanos. Historias de nuestras costumbres indígenas y de la formación de nuestras ciudades. Así, Quetzalcóatl, Popocatepetl, Ixtla, son personajes de la mitología azteca y maya y Uxmal, Teotihuacán, Monte Albán o Chichén Itzá eran ciudades mexicanas.

In this volume of the MIT Press's Essential Knowledge series, Nick Montfort argues that the future is something to be made, not predicted. Montfort offers what he considers essential knowledge about the future, as seen in the work of writers, artists, inventors, and designers (mainly in Western culture) who developed and described the core components of the futures they envisioned. Montfort's approach is not that of futurology or scenario planning; instead, he reports on the work of making the future - the thinkers who devoted themselves to writing pages in the unwritten book.

In News for the Rich, White, and Blue, Nikki Usher recasts the challenges facing journalism in terms of place, power, and inequality. Drawing on more than a decade of field research, she illuminates how journalists decide what becomes news and how news organizations strategize about the future. Usher shows how newsrooms remain places of power, largely white institutions growing more elite as journalists confront a shrinking job market.

Korean dramas, colloquially known as K-Dramas, have carved a prominent niche in the global entertainment landscape, captivating audiences far beyond their country of origin. With their intricate plots, compelling characters, and high production values, K-Dramas have emerged as a cultural force that transcends geographical boundaries.

Fridays of Rage provides a glimpse into how Al Jazeera strategically cast its journalists as martyrs in the struggle for Arab freedom while promoting itself as the mouthpiece and advocate of the Arab public.

Ten years ago, the online news platform Buzzfeed published completely false allegations that a British journalist was running a global fake news factory from his offices in Vienna, Austria. These claims devastated the reputation of an award-winning agency that had existed since 1993, supplying content to some of the biggest media brands in the world. This book documents the story behind the story and casts a spotlight on the real reason for the decline in trust in the media and the death of journalism.

If there is an enemy in the War on Drugs, it is people of color. That is the lesson of forty years of cultural production in the United States. Popular culture, from Scarface and Miami Vice to Narcos and Better Call Saul, has continually positioned Latinos as an alien people who threaten the US body politic with drugs. Jason Ruiz explores the creation and endurance of this trope, its effects on Latin Americans and Latinx people, and its role in the cultural politics of the War on Drugs.

What’s gone wrong with our media? The answer: its owners. From William Randolph Hearst to Elon Musk, from the British press barons to colonial upstarts Conrad Black and Rupert Murdoch, media proprietors have manipulated the news to accumulate wealth and influence as they meddled with democracy. Eric Beecher knows the news business from bottom to top. He has been a journalist, editor and media proprietor, with the rare distinction of having both worked for and been sued (unsuccessfully) by the Murdochs. This book reveals the distorted role of the media moguls of the past two centuries.

Dive into the intricacies of ethnic media with this comprehensive guide, tailored for individuals seeking insights into its motivations and operations. Whether driven by curiosity or necessity, this resource equips you to harness the formidable influence and engagement of ethnic media to amplify a diverse range of public relations and marketing campaigns.

Whatever happened to journalism? When did American news media go from the respected, trusted purveyor of truth to anything but? How did we go from the “Glory Days of Television News” to today’s growing distrust and derision of “the media?” Is the Internet our only journalistic hope? Can we remake the media into a meaningful part of the check-and-balances system fundamental to the democratic principles on which this country was founded?

In this extended lyric essay, a poet mines her lifelong experience with migraines to deliver a marvelously idiosyncratic cultural history of pain - how we experience, treat, and mistreat it. Her sources range from the trial of Joan of Arc to the essays of Virginia Woolf and Elaine Scarry to Hugh Laurie’s portrayal of Gregory House on House M.D. As she engages with science, philosophy, visual art, rock lyrics, and field notes from her own medical adventures (both mainstream and alternative), she finds a way to express the often-indescribable experience of living with pain.

Local news is essential to democracy. Meaningful participation in civic life is impossible without it. However, local news is in crisis. According to one widely cited study, some 2,500 newspapers have closed over the last generation. And it is often marginalized communities of color who have been left without the day-to-day journalism they need to govern themselves in a democracy.

Since Victoria Woodhull launched her symbolic bid for the presidency in 1872, dozens of women have sought the presidency over the past 150 years. Their quest began long before women won the vote, and it unfolded over decades when a woman's pursuit of any higher political office was met with prejudice, mockery, and hostility. Even after women started voting in 1920, they remained shut out of rooms where presidential candidacies were often born.

引退を機に明かす、人気番組の舞台裏「これは僕の、テレビ界への遺言です」全て実名で綴る、テレビへの愛と提言

Oral historian and documentary researcher David Wolinsky invites listeners to sit in on a series of urgent, intimate conversations between some of the most distinguished voices across entertainment and media as they reflect on the longstanding impact of Gamergate. What went wrong, and what can we learn from Gamergate to help us build a more equitable online world?

In che modo la tv e i social media sono diventati così pervasivi? Come mai si ha la sensazione di vivere in un tempo strano, talvolta estremamente compresso e talvolta profondamente dilatato? E perché ci sembra sempre che ci manchi un quadro generale delle cose, che il nostro sguardo si fissi su alcuni particolari, ingranditi a dismisura?

Mit "Manufacturing Consent" legten Edward S. Herman und Noam Chomsky im Jahr 1988 ein umfassendes Werk zur Funktionsweise der Massenmedien in kapitalistischen Demokratien vor, das heute als eine der meistgelesenen Studien zum Thema gilt. Fein und detailliert zeigen die Autoren, wie die Medien einen gesellschaftlichen Konsens herstellen, der den herrschenden wirtschaftlichen und politischen Interessen folgt.

With Amazon's growing power in both bookselling and publishing, considering where and how we get our books is more important now than ever. The simple act of putting a book in a reader's hands—what booksellers call handselling—becomes a catalyst for an exploration of the moral, financial, and political pressures all indie bookstores face.

As television began to overtake the political landscape in the 1960s, network broadcast companies, bolstered by powerful lobbying interests, dominated screens across the nation. Yet over the next three decades, the expansion of a different technology, cable, changed all of this. 24/7 Politics tells the story of how the cable industry worked with political leaders to create an entirely new approach to television, one that tethered politics to profits.