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This Came to You from Chicago explores the unique traits, style, and practices of "Chicago Television" from World War II to the 1990s. Jason J. Nebergall traces how, unlike mainstream stations, city-based broadcasters, who often worked day jobs, provided a platform for underrepresented groups to share their perspectives and allowed citizens to experiment with storytelling, representation, and engagement. In analyzing the idea and follow-through of "to and from Chicagoans," Nebergall also illuminates how Chicago Television promoted civic engagement, fostered a sense of belonging and solidarity among residents, and contributed to the evolution of technological advances through the artistic risks of local and independent producers.

This Came to You from Chicago presents an ideological framework that analyzes Chicago Television as being deeply rooted in the political beliefs of its creators. Issues involving labor rights, women's liberation, the civil rights struggle, LGBTQ communities, and anti-capitalist activism appeared throughout the history of television in the Windy City. By bringing attention to the locality and widespread function of this programming system, Nebergall reveals how independent television developed with the vibrancy and diversity of Chicago's cultural landscape and local advocacy for social justice.

A giant of political journalism, Lou Cannon rose to prominence as state bureau chief for the San Jose Mercury News in the late 1960s, covering then-governor of California Ronald Reagan. In 1972, he became a political reporter for The Washington Post, one of the top newspapers in the United States, where he would remain until 2008. Best known for his coverage of Reagan's presidency, he also notably covered the brutal beating of Rodney King at the hands of the Los Angeles police department in 1991.

From Ronald Reagan to Rodney King recounts Cannon's lengthy career as a newspaperman during a period when newspapers of record were the most important source of current events. He had extraordinary access to top newsmakers, and his work had a rippling impact-influencing other journalists, sparking coverage on television, and appearing in newspapers around the globe. Some of the stories he covered-such as the end of the Cold War-changed the world. His journalistic influence in the latter half of the twentieth century was deep and wide-ranging.

Cannon is the primary source of his stories, but he was a careful reporter then and a careful historian now. He had the benefit of a written record of every story he covered, and he clearly refreshed his memory when necessary to check the facts. Rather than revealing his own opinions or feelings, Cannon narrates straightforward accounts of what he witnessed on the job. From Ronald Reagan to Rodney King will appeal to historians of twentieth-century journalism, the Cold War, Ronald Reagan, race relations, and policing.

Beyond Ballot Boxes explores how social media has transformed electoral politics by influencing voter behavior, political communication, and democratic integrity. The book introduces Digital Democracy Disruption (D (3)) Theory to analyze how misinformation, algorithmic bias, and computational propaganda shape elections worldwide. By comparing case studies from the United States, Bangladesh, India, and Pakistan, the authors examine the impact of digital media in both developed and emerging democracies. The book also discusses regulatory challenges, misinformation countermeasures, and policy recommendations for preserving democratic resilience in the digital era. Tracing the historical evolution of media from print to digital platforms, the book highlights the role of traditional media in shaping public opinion before examining how social media has democratized access to information while simultaneously fostering misinformation and ideological divides. It explores the mechanisms of digital propaganda, distinguishing between misinformation (false but unintentional content) and disinformation (deliberate manipulation). The authors discuss the rise of deepfakes, troll farms, and bot-driven campaigns, with case studies including the Cambridge Analytica scandal and the spread of WhatsApp-driven misinformation in South Asia.

Explores biopolitical currents in world cinema, paying particular attention to postsocialist and postrevolutionary filmmakers from Iran, Russia, China, and Romania.

The Biopolitical Turn in World Cinema explores how cinematic form and content understand and represent relationships of power between the state and life itself. Cinema, it argues, is both technical apparatus and aesthetic object and as such is imminently biopolitical, both as a medium of governmental control and as a site of resistance. The book analyzes a range of cinematic movements, paying particular attention to postsocialist and postrevolutionary filmmakers from Iran (Asghar Farhadi), Russia (Sergei Loznitsa), China (Xiaoshuai Wang), and Romania (Radu Jude). The book concludes by looking toward filmmakers-from Jordan Peele to Albert Serra-who further illuminate the limits of biopolitical paradigms, offering new ways of understanding contemporary political and ethical challenges posed by neoliberal globalization. While this book will appeal to film studies specialists, it is also a comprehensive introduction to film theory and biopolitical thought that will appeal to nonacademic and student readers with an interest in the subjects.

This book explores how urban spaces and imagery serve as vessels for artistic creation, conveying cultural identity and heritage, by focusing on Macau as a case study. The book examines the role of city imagery in the contexts of World Heritage and intangible cultural heritage, and its transformation into artistic expression. Through field research, artist interviews, and detailed case studies, the book presents the creative processes of 22 artists, revealing how the "mountain-sea-city" imagery is translated into diverse artistic languages and media. By tracing Macau's historical development, spatial patterns, landscape characteristics, and folk traditions, the text demonstrates how urban imagery functions as a multi-layered symbol connecting natural environments, historical sites, and cultural practices. This volume highlights the significance of artistic interpretation in shaping cultural identity, preserving heritage, and fostering urban memory. It also provides theoretical and methodological insights into how art and design can operate as interdisciplinary tools for reinterpreting and re-presenting cultural heritage in contemporary contexts. It is relevant to researchers, graduate students, artists, and cultural policymakers, offering a unique perspective on the intersection of art, urban space, and heritage, and serves as a practical reference for understanding cross-cultural artistic practice and the narration of urban memory.

This edited collection examines the expression of posthumanist themes across diverse media, emphasizing the interconnections of technology, identity, and existence. As technological breakthroughs increasingly obscure the distinctions between the organic and inorganic, as well as the human and non-human, media narratives function as essential arenas for analysing these shifting dynamics.

The book examines the representation of posthuman identities in film, television, and literature, prompting philosophical inquiries regarding autonomy, subjectivity, and agency, and examines how posthumanism transforms conventional humanist notions of the self and society, especially by investigating the interdependent link between humans and technology.

Artificial Intelligence (AI) is described as the basis of a "fourth industrial revolution" with profound effects to science, industry, and various aspects of society. Rooted in philosophical and technological developments dating back to ancient times in both the West and China, AI has emerged as a powerful force transforming basic relations between humankind and machines.

Historical Dictionary of Artificial Intelligence in China gives special attention to the individual scientists and entrepreneurs in the West and China responsible for major developments and advances of AI technology along with developments in ancillary fields such as science fiction and films that influence elite and popular opinion on the frequently opaque world of AI. This is done through a chronology, an introductory essay, cross-referenced dictionary entries, a glossary, appendix and an extensive bibliography.

This book offers the first transnational account of screen agencies as a collective body supporting and shaping the European screen sector. Alternatively known as film funds or film institutes, screen agencies are publicly funded bodies which intervene at each stage of the value chain for film and television content. Agencies such as the Danish Film Institute, Creative Scotland, Screen Ireland and Northern Ireland Screen perform a diverse range of functions including allocating funds, developing talent, fostering international collaborations, and promoting cultural value. They play a crucial role in mitigating the risks associated with creative production, and within smaller nations - the focus of this research - their attempts to leverage scale make their role even more significant within the sector. Using original empirical research gathered from interviews conducted with those working within national agencies in Belgium, Croatia, Denmark, Northern Ireland, the Republic of Ireland, Scotland, and Wales, this book offers critical insight into international screen production through the institutional lens of screen agencies.

Reveals how mise-en-scene has shaped the fields of film and television studies.

Visions in the Frame provides a detailed evaluation of the journey and status of mise-en-scene-the organization of the visual field within the frame-as a critical concept in film and television studies. The first part of the book looks at the persistence of mise-en-scene within film studies amid a series of fluctuations in theoretical, historical, cultural, philosophical, and critical approaches. The second part shifts focus to consider television studies and the extent to which mise-en-scene has remained an ambiguous element in the growth of the discipline. The third part engages in a series of close readings from a range of styles and genres of television shows, exploring the relationship between visual composition, meaning, and significance as a central critical focus. Across the three parts of the book, Visions in the Frame presents a rigorous and valuable context for understanding the contrasting position and influence of mise-en-scene within film and television studies, using this to offer guidance for its future role within both disciplines.

Recent events have shown how uncivil communication by political elites on social media can spread through networked publics and contribute to real-world disruption. To explain the upstream dynamics of these processes, this book introduces the Spiral of Political Incivility on Social Media (SPIN), a model that conceptualizes incivility as a dynamic, three-stage process: the production of norm violations by political actors, their perception shaped by platform affordances and national contexts, and user reactions that may reinforce or dampen the original cues.

Drawing on a most-different-systems design, the study combines computational text analysis of 37,152 campaign posts across Facebook, Twitter, and Telegram in Brazil, Spain, and the United States, representative surveys (N = 2,337), and an analysis of 13.6 million user comments. The findings reveal three ideal-typical trajectories-reinforcing, reactive, and dampened spirals-demonstrating that political incivility online is not random noise but a context-dependent process shaped by the interaction of actors, platforms, and users. By identifying where these spirals accelerate or stall, the study highlights key leverage points for mitigating the diffusion of incivility in digital democracies.

As newspapers and periodicals proliferated in the United States in the nineteenth century, editors seeking to carve out a large and loyal audience hired artists to pair vivid imagery with sensational fiction ripped from the headlines. In Crime and Class in Print, Wendy Jean Katz examines the emergence of a modern visual culture in pre-Civil War New York City around these illustrated stories of crime, swashbuckling, and ordinary and extraordinary characters both rich and poor. Katz documents the life and career of Tompkins H. Matteson (1813-1884), whose drawings were printed alongside these tales, to understand the mass production, reception, and circulation of serialized illustrations. By closely analyzing the images within both their historical and fictional contexts, she interrogates how these cheap, ephemeral periodicals dramatized urban crime but also framed it within class-based concerns.

The serial nature of Matteson's illustrations, which made the coupled stories accessible to a larger swath of readers, represented an investment in industrial progress necessary to reach "mass" audiences. As Katz explores, while the images of city life conveyed nuance regarding ethnicity, temperance, police powers, privacy, sex, labor, aesthetics, reading practices, and masculinity, their paired narrative texts frequently mutated within and across different periodicals and languages to suit their audiences. In the English-language press, Matteson's illustrations highlighted class struggle yet entwined them within the jingoist politics that advocated against immigration and upheld the white working class in opposition to ethnic diversity. As meaning shifted from one story, newspaper, or language to the next, what was a visual demonstration of progressive values championing proletariat interests became a platform to enforce a petit bourgeois and nativist perspective.

Through a number of narrative case studies, this book explores how innovative news-academic partnerships are reshaping the landscape of local journalism.

Local news is facing a dire outlook across the United States, and many rural and urban communities increasingly have little to no access to credible or comprehensive local news and information. As factors including the rise of online news sources and the consolidation of media ownership contribute to the decline in local news outlets, the battle to control local news - and therefore, the power to craft influential messages to communities -- has only intensified in recent years. In this book, Lara Salahi explores how news-academic partnerships are emerging as a viable business model for local news in which higher education institutions can be a strong contender against other entities in local news production and ownership. By examining successful case studies and innovative models, Salahi demonstrates how collaborations between local news outlets and academic institutions can provide financial stability, foster community engagement, and ensure the continuation of high-quality local news coverage. Through these partnerships, she posits, local news outlets can secure resources, expand their reach, and effectively serve as the bedrock of democratic societies by providing accurate, relevant, and community-centric news and information. Ultimately, this book explores both the opportunities and challenges offered by the transformational approach of news-academic partnerships to not only preserve the integrity of journalism, but also to enhance media literacy while ensuring the long-term survival of vital local news outlets.

This book revisits the last three decades of heritage management across the world with the use of cultural landscape methodology. In 1992, UNESCO adopted the concept of cultural landscape as a category of world heritage places. This change recognized that culture and nature intertwined to create unique human environments, demonstrating the utility of the concept in natural and cultural heritage management and widening the notion of heritage management thinking and practice. The volume investigates the issues and strategies related to the heritage management of cultural landscape heritage, revisiting in particular the scholarship and legacies of Dr Ken Taylor, who has led a quiet but remarkable intellectual effort to define the concept of cultural landscape and its application in heritage management, and to help develop the next generation of thinkers and practitioners in heritage management.