Benjamin T. Smith
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781469638089
- eISBN:
- 9781469638140
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469638089.001.0001
- Subject:
- History, Latin American History
Mexico today is one of the most dangerous places in the world to report the news, and Mexicans have taken to the street to defend freedom of expression. As Benjamin T. Smith demonstrates in this ...
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Mexico today is one of the most dangerous places in the world to report the news, and Mexicans have taken to the street to defend freedom of expression. As Benjamin T. Smith demonstrates in this history of the press and civil society, the cycle of violent repression and protest over journalism is nothing new. He traces it back to the growth in newspaper production and reading publics between 1940 and 1976, when a national thirst for tabloids, crime sheets, and magazines reached far beyond the middle class.
As Mexicans began to view local and national events through the prism of journalism, everyday politics changed radically. Even while lauding the liberty of the press, the state developed an arsenal of methods to control what was printed, including sophisticated spin and misdirection techniques, covert financial payments, and campaigns of threats, imprisonment, beatings, and even murder. The press was also pressured by media monopolists tacking between government demands and public expectations to maximize profits, and by coalitions of ordinary citizens demanding that local newspapers publicize stories of corruption, incompetence, and state violence. Since the Cold War, both in Mexico City and in the provinces, a robust radical journalism has posed challenges to government forces.Less
Mexico today is one of the most dangerous places in the world to report the news, and Mexicans have taken to the street to defend freedom of expression. As Benjamin T. Smith demonstrates in this history of the press and civil society, the cycle of violent repression and protest over journalism is nothing new. He traces it back to the growth in newspaper production and reading publics between 1940 and 1976, when a national thirst for tabloids, crime sheets, and magazines reached far beyond the middle class.
As Mexicans began to view local and national events through the prism of journalism, everyday politics changed radically. Even while lauding the liberty of the press, the state developed an arsenal of methods to control what was printed, including sophisticated spin and misdirection techniques, covert financial payments, and campaigns of threats, imprisonment, beatings, and even murder. The press was also pressured by media monopolists tacking between government demands and public expectations to maximize profits, and by coalitions of ordinary citizens demanding that local newspapers publicize stories of corruption, incompetence, and state violence. Since the Cold War, both in Mexico City and in the provinces, a robust radical journalism has posed challenges to government forces.
Donal Harris
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780231177726
- eISBN:
- 9780231541343
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231177726.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
American novelists and poets who came of age in the early twentieth century were taught to avoid journalism. It dulled creativity, rewarded sensationalist content, and stole time from “serious” ...
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American novelists and poets who came of age in the early twentieth century were taught to avoid journalism. It dulled creativity, rewarded sensationalist content, and stole time from “serious” writing. Yet Willa Cather, W. E. B. Du Bois, and Ernest Hemingway, among others all worked in the for popular magazines and helped to invent the house styles that defined McClure’s, The Crisis, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture. Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism’s incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris’s work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other “institutions of modernism” that served narrow audiences. And for the writers, the “double life” of working for these magazines shaped modernism’s literary form and created new models of authorship.Less
American novelists and poets who came of age in the early twentieth century were taught to avoid journalism. It dulled creativity, rewarded sensationalist content, and stole time from “serious” writing. Yet Willa Cather, W. E. B. Du Bois, and Ernest Hemingway, among others all worked in the for popular magazines and helped to invent the house styles that defined McClure’s, The Crisis, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture. Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism’s incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris’s work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other “institutions of modernism” that served narrow audiences. And for the writers, the “double life” of working for these magazines shaped modernism’s literary form and created new models of authorship.
Melanie Tebbutt
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780719066139
- eISBN:
- 9781781704097
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719066139.003.0006
- Subject:
- History, Social History
Chapter 5 continues this examination of how these changes affected the emotional landscapes of young men's lives by scrutinising how the ‘male world’ of youthful feeling was expressed through the ...
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Chapter 5 continues this examination of how these changes affected the emotional landscapes of young men's lives by scrutinising how the ‘male world’ of youthful feeling was expressed through the advice columns of popular newspapers and magazines, which expanded significantly in the 1930s. The chapter samples letters from boys and young men to illustrate a complex interplay of discourse and mediated experience to help illustrate their responses to the period's informalising expectations and changing social relations.Less
Chapter 5 continues this examination of how these changes affected the emotional landscapes of young men's lives by scrutinising how the ‘male world’ of youthful feeling was expressed through the advice columns of popular newspapers and magazines, which expanded significantly in the 1930s. The chapter samples letters from boys and young men to illustrate a complex interplay of discourse and mediated experience to help illustrate their responses to the period's informalising expectations and changing social relations.
Jennifer Nolan
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812308
- eISBN:
- 9781496812346
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812308.003.0008
- Subject:
- Literature, American, 20th Century Literature
This chapter uses paratextual evidence surrounding the publication of William Faulkner’s story “Two Soldiers” in the Saturday Evening Post to argue for the importance of considering Faulkner’s works ...
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This chapter uses paratextual evidence surrounding the publication of William Faulkner’s story “Two Soldiers” in the Saturday Evening Post to argue for the importance of considering Faulkner’s works within their original contexts. An examination of the contents of the magazine, including editorials, articles, and advertisements, from immediately before Pearl Harbor through the appearance of “Two Soldiers” on March 28, 1942 demonstrates that its purchase and publication occurred during editorial and ideological upheaval at the Post; in just under four months, the formerly isolationist Post became a mouthpiece of the overwhelmingly patriotic sentiment sweeping across the nation. When placed within this context, Faulkner’s story offers a nuanced challenge to this rapid repositioning for an audience bewildered by the speed of this change. Rather than being a shortcoming of the story, as traditionally argued, Faulkner’s acute awareness of his audience and social context offers a compelling reason this story deserves further consideration.Less
This chapter uses paratextual evidence surrounding the publication of William Faulkner’s story “Two Soldiers” in the Saturday Evening Post to argue for the importance of considering Faulkner’s works within their original contexts. An examination of the contents of the magazine, including editorials, articles, and advertisements, from immediately before Pearl Harbor through the appearance of “Two Soldiers” on March 28, 1942 demonstrates that its purchase and publication occurred during editorial and ideological upheaval at the Post; in just under four months, the formerly isolationist Post became a mouthpiece of the overwhelmingly patriotic sentiment sweeping across the nation. When placed within this context, Faulkner’s story offers a nuanced challenge to this rapid repositioning for an audience bewildered by the speed of this change. Rather than being a shortcoming of the story, as traditionally argued, Faulkner’s acute awareness of his audience and social context offers a compelling reason this story deserves further consideration.
Jean Lee Cole
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781496826527
- eISBN:
- 9781496826572
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496826527.001.0001
- Subject:
- Literature, Comics Studies
In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be ...
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In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be solved. This distinctly comic sensibility, most visible in the form of the comic strip, merged the grotesque with the urbane and the whimsical with the cynical, representing the world of what Jacob Riis called the “Other Half” with a jaundiced, yet sympathetic, eye. Various forms of the comic sensibility emerged from a competitive, collaborative environment fostered at newspapers and magazines published by figures including William Randolph Hearst, Joseph Pulitzer, and S. S. McClure. Characterized by a breezy, irreverent style and packaged in eye-catching typography, vibrant color, and dynamic page design, the comic sensibility combined the performative aspects of vaudeville and the variety of stage, the verbal improvisations of dialect fiction, and a multivalent approach to caricature that originated in nineteenth-century comic weeklies, such as Puck and Judge. Though it was firmly rooted in ethnic humor, the comic sensibility did not simply denigrate or dehumanize ethnic and racial minorities. Stereotype and caricature was used not just to make fun of the Other Half, but also to engage in pointed sociopolitical critique. Sometimes grotesque, sometimes shocking, at other times sweetly humorous or gently mocking, the comic sensibility ultimately enabled group identification and attracted a huge working-class audience.Less
In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be solved. This distinctly comic sensibility, most visible in the form of the comic strip, merged the grotesque with the urbane and the whimsical with the cynical, representing the world of what Jacob Riis called the “Other Half” with a jaundiced, yet sympathetic, eye. Various forms of the comic sensibility emerged from a competitive, collaborative environment fostered at newspapers and magazines published by figures including William Randolph Hearst, Joseph Pulitzer, and S. S. McClure. Characterized by a breezy, irreverent style and packaged in eye-catching typography, vibrant color, and dynamic page design, the comic sensibility combined the performative aspects of vaudeville and the variety of stage, the verbal improvisations of dialect fiction, and a multivalent approach to caricature that originated in nineteenth-century comic weeklies, such as Puck and Judge. Though it was firmly rooted in ethnic humor, the comic sensibility did not simply denigrate or dehumanize ethnic and racial minorities. Stereotype and caricature was used not just to make fun of the Other Half, but also to engage in pointed sociopolitical critique. Sometimes grotesque, sometimes shocking, at other times sweetly humorous or gently mocking, the comic sensibility ultimately enabled group identification and attracted a huge working-class audience.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.003.0004
- Subject:
- Film, Television and Radio, Film
Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or ...
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Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or Hollywood Reporter. In its attempts to provide a more sophisticated, nuanced, and professional set of discourses for adult video, AVN represents a major turning point in this history, focusing on the industry as an industry, rather than merely as content made by unseen, hidden forces. Additionally, AVN repeatedly emphasized and encouraged the creation of quality material as a strategy to gain the respectability that would lead to greater acceptability and profits, a stance it also replicated within its own pages and editorial practices. Ultimately, AVN crafted something new: a space in which to promote, sell, and celebrate adult video.Less
Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or Hollywood Reporter. In its attempts to provide a more sophisticated, nuanced, and professional set of discourses for adult video, AVN represents a major turning point in this history, focusing on the industry as an industry, rather than merely as content made by unseen, hidden forces. Additionally, AVN repeatedly emphasized and encouraged the creation of quality material as a strategy to gain the respectability that would lead to greater acceptability and profits, a stance it also replicated within its own pages and editorial practices. Ultimately, AVN crafted something new: a space in which to promote, sell, and celebrate adult video.
Alison Fraunhar
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496814432
- eISBN:
- 9781496814470
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814432.003.0004
- Subject:
- Society and Culture, Gender Studies
This chapter studies in the interweaving of popular and fine art forms during the Republican era, focusing on artwork of popular magazine covers and avant-garde painters of the period, with ...
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This chapter studies in the interweaving of popular and fine art forms during the Republican era, focusing on artwork of popular magazine covers and avant-garde painters of the period, with particular analysis of the work of several well-known (and several less so) painters and illustrators. In the chapter, the two formal approaches are connected by the deployment of the mulata in many of the artworks and illustrations.
These artworks, fine and popular, were crucial in shaping consensus through vernacular imagery and well known national symbols, particularly (but not exclusively) the mulata. Both graphic and fine artists were shaped by international travel and residence abroad, introducing them to international stylistic currents against and through which they generated images that resonated with national identity. Not only did artists travel, but tourism continued to rise, bring foreign tastes, further shaping culture on the island. In addition to international connections, artists were at the vanguard of important political activism against corrupt government.Less
This chapter studies in the interweaving of popular and fine art forms during the Republican era, focusing on artwork of popular magazine covers and avant-garde painters of the period, with particular analysis of the work of several well-known (and several less so) painters and illustrators. In the chapter, the two formal approaches are connected by the deployment of the mulata in many of the artworks and illustrations.
These artworks, fine and popular, were crucial in shaping consensus through vernacular imagery and well known national symbols, particularly (but not exclusively) the mulata. Both graphic and fine artists were shaped by international travel and residence abroad, introducing them to international stylistic currents against and through which they generated images that resonated with national identity. Not only did artists travel, but tourism continued to rise, bring foreign tastes, further shaping culture on the island. In addition to international connections, artists were at the vanguard of important political activism against corrupt government.
Jane Marcus
Jean Mills (ed.)
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781949979299
- eISBN:
- 9781800341487
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979299.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
The chapter investigates Cunard’s identity as a poet, the challenges she faced as a woman poet, and the early publications of Outlaws (1921), Sublunary (1923), and Poems (Two) (1925). Marcus also ...
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The chapter investigates Cunard’s identity as a poet, the challenges she faced as a woman poet, and the early publications of Outlaws (1921), Sublunary (1923), and Poems (Two) (1925). Marcus also explores Cunard’s involvement with the anti-war poetry anthology Wheels, her founding of The Hours Press, and the reception of her work by a male-dominated press. The author also discusses the early impetus behind her collection Negro Anthology and her political activism during the Spanish Civil War on behalf of poets from Harlem, Cuba, and The West Indies.Less
The chapter investigates Cunard’s identity as a poet, the challenges she faced as a woman poet, and the early publications of Outlaws (1921), Sublunary (1923), and Poems (Two) (1925). Marcus also explores Cunard’s involvement with the anti-war poetry anthology Wheels, her founding of The Hours Press, and the reception of her work by a male-dominated press. The author also discusses the early impetus behind her collection Negro Anthology and her political activism during the Spanish Civil War on behalf of poets from Harlem, Cuba, and The West Indies.
Mike Ashley
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781781382608
- eISBN:
- 9781786945457
- Item type:
- book
- Publisher:
- Discontinued
- DOI:
- 10.5949/liverpool/9781781382608.001.0001
- Subject:
- Literature, Criticism/Theory
This is the fourth volume in a five-volume series covering the history, development and influence of science fiction magazines within the genre as a whole. This volume covers the 1980s and looks at ...
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This is the fourth volume in a five-volume series covering the history, development and influence of science fiction magazines within the genre as a whole. This volume covers the 1980s and looks at the contribution of a new generation of writers to the development of new sub-genres in science fiction such as cyberpunk, slipstream, nanotechnology and what was called the hard SF Renaissance. It shows how the small press and alternative magazines developed a science fiction underground that had a significant impact upon the genre, and the professional SF magazines, as well as such alternative forms of fiction as slipstream. The book highlights the growing international interest in science fiction with significant coverage of SF in countries including China, Japan, and those in Eastern Europe and South America, which are covered in an appendix.Less
This is the fourth volume in a five-volume series covering the history, development and influence of science fiction magazines within the genre as a whole. This volume covers the 1980s and looks at the contribution of a new generation of writers to the development of new sub-genres in science fiction such as cyberpunk, slipstream, nanotechnology and what was called the hard SF Renaissance. It shows how the small press and alternative magazines developed a science fiction underground that had a significant impact upon the genre, and the professional SF magazines, as well as such alternative forms of fiction as slipstream. The book highlights the growing international interest in science fiction with significant coverage of SF in countries including China, Japan, and those in Eastern Europe and South America, which are covered in an appendix.
Michael Williams
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9789888390533
- eISBN:
- 9789888455102
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390533.003.0005
- Subject:
- History, Asian History
In this chapter is discussed the mechanisms and the motives through which life in a qiaoxiang such as Long Du was influenced by the qiaoxiang connections and how developments arose that resulted in ...
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In this chapter is discussed the mechanisms and the motives through which life in a qiaoxiang such as Long Du was influenced by the qiaoxiang connections and how developments arose that resulted in some never returning to their “big house”. The motivations for establishing and maintaining these links will be examined. Here is investigated the mechanisms, or those tangible elements, which ensured that money, information, and people were constantly transferred between the qiaoxiang and the Pacific Ports. Sending money, being kept informed on family and qiaoxiang affairs, regular visits, and even ensuring that one’s bones returned after death were all part of the qiaoxiang links. These connections were sustained through the establishment of associations in the destinations, as well as through services provided by stores and businesses. How these elements were established, maintained, and evolved over distance, time, and generations, and how their development helped to sustain the qiaoxiang links is investigated here. The presence of the family in the qiaoxiang was central to the evolution of these mechanisms. Those in the qiaoxiang did not remain passive in this interaction and, through their letters and more formally through the qiaokan, made efforts to keep the huaqiao connected and supportive.Less
In this chapter is discussed the mechanisms and the motives through which life in a qiaoxiang such as Long Du was influenced by the qiaoxiang connections and how developments arose that resulted in some never returning to their “big house”. The motivations for establishing and maintaining these links will be examined. Here is investigated the mechanisms, or those tangible elements, which ensured that money, information, and people were constantly transferred between the qiaoxiang and the Pacific Ports. Sending money, being kept informed on family and qiaoxiang affairs, regular visits, and even ensuring that one’s bones returned after death were all part of the qiaoxiang links. These connections were sustained through the establishment of associations in the destinations, as well as through services provided by stores and businesses. How these elements were established, maintained, and evolved over distance, time, and generations, and how their development helped to sustain the qiaoxiang links is investigated here. The presence of the family in the qiaoxiang was central to the evolution of these mechanisms. Those in the qiaoxiang did not remain passive in this interaction and, through their letters and more formally through the qiaokan, made efforts to keep the huaqiao connected and supportive.
Brooke Erin Duffy
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037962
- eISBN:
- 9780252095221
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037962.003.0003
- Subject:
- Society and Culture, Media Studies
This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé ...
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This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé Nast, and Time, Inc. Although each of these companies produces several women's fashion, beauty, and/or service titles, their organizational structures are becoming quite varied as they reorient departments, positions, and routines to address contemporary industry challenges. The chapter considers the extent to which changes in the magazine industry can be ascribed exclusively to digital innovations, whether such changes are being felt evenly across the industry, and how they have created a perfect storm that has opened up the question of “what is a magazine?” It also discusses the ways that Condé Nast, Time, and Hearst are addressing the challenges of digitization. The chapter shows that women's magazine companies venture into online and digital spaces as part of their concentrated efforts to resuscitate their magazine titles.Less
This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé Nast, and Time, Inc. Although each of these companies produces several women's fashion, beauty, and/or service titles, their organizational structures are becoming quite varied as they reorient departments, positions, and routines to address contemporary industry challenges. The chapter considers the extent to which changes in the magazine industry can be ascribed exclusively to digital innovations, whether such changes are being felt evenly across the industry, and how they have created a perfect storm that has opened up the question of “what is a magazine?” It also discusses the ways that Condé Nast, Time, and Hearst are addressing the challenges of digitization. The chapter shows that women's magazine companies venture into online and digital spaces as part of their concentrated efforts to resuscitate their magazine titles.
Brian Fox
- Published in print:
- 2019
- Published Online:
- April 2019
- ISBN:
- 9780198814023
- eISBN:
- 9780191869822
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198814023.003.0004
- Subject:
- Literature, 20th-century and Contemporary Literature
Chapter 4 looks at how Joyce incorporated his American reception into FinnegansWake, with an emphasis on how the Wake represents Joyce’s attitude towards the sudden imperative between the wars to ...
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Chapter 4 looks at how Joyce incorporated his American reception into FinnegansWake, with an emphasis on how the Wake represents Joyce’s attitude towards the sudden imperative between the wars to respond to his reception in America. This includes not only the banning, burning, piracy, and trials of his works in Prohibition America, but also a transatlantic print culture which saw his works as they were serialized being published almost exclusively in American-run Little Magazines aimed at American audiences. Moreover, this chapter argues that while the ‘Americanization of Joyce Studies’ didn’t fully take hold until after the Second World War, Joyce was aware of and responded to incipient moves in that directionLess
Chapter 4 looks at how Joyce incorporated his American reception into FinnegansWake, with an emphasis on how the Wake represents Joyce’s attitude towards the sudden imperative between the wars to respond to his reception in America. This includes not only the banning, burning, piracy, and trials of his works in Prohibition America, but also a transatlantic print culture which saw his works as they were serialized being published almost exclusively in American-run Little Magazines aimed at American audiences. Moreover, this chapter argues that while the ‘Americanization of Joyce Studies’ didn’t fully take hold until after the Second World War, Joyce was aware of and responded to incipient moves in that direction
