Sofia Johansson
- Published in print:
- 2020
- Published Online:
- September 2021
- ISBN:
- 9781474424929
- eISBN:
- 9781474496087
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474424929.003.0027
- Subject:
- Literature, Criticism/Theory
This chapter chronicles the development of tabloid newspapers in Britain and Northern Ireland across the 20th and early 21st centuries. It investigates the spectacular rise and subsequent demise of ...
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This chapter chronicles the development of tabloid newspapers in Britain and Northern Ireland across the 20th and early 21st centuries. It investigates the spectacular rise and subsequent demise of the popular tabloid as a distinct newspaper form, which has stirred as much controversy as it has shaped public debate. How did tabloid newspapers come to attract such vast readerships? What basis for the formation of public opinion did they provide, and how did they impact on the wider journalistic climate? The chapter explores tabloid history from three interrelated thematic points of departure. Firstly, it pays attention to a notable history of controversy, characterised by the papers’ tendency to push ethical and taste boundaries, and by the introduction of new, sensationalist, journalistic styles and content orientations. From a different perspective, however, the history of tabloid journalism can be regarded as one of building notions of community through, for instance, the provision of an inclusive address to readers, and the interlinking of news with other forms of popular culture. Finally, the chapter considers the historical, highly complex, role of tabloid journalism within public life, as a basis for the formation of public opinion, and as a political force.Less
This chapter chronicles the development of tabloid newspapers in Britain and Northern Ireland across the 20th and early 21st centuries. It investigates the spectacular rise and subsequent demise of the popular tabloid as a distinct newspaper form, which has stirred as much controversy as it has shaped public debate. How did tabloid newspapers come to attract such vast readerships? What basis for the formation of public opinion did they provide, and how did they impact on the wider journalistic climate? The chapter explores tabloid history from three interrelated thematic points of departure. Firstly, it pays attention to a notable history of controversy, characterised by the papers’ tendency to push ethical and taste boundaries, and by the introduction of new, sensationalist, journalistic styles and content orientations. From a different perspective, however, the history of tabloid journalism can be regarded as one of building notions of community through, for instance, the provision of an inclusive address to readers, and the interlinking of news with other forms of popular culture. Finally, the chapter considers the historical, highly complex, role of tabloid journalism within public life, as a basis for the formation of public opinion, and as a political force.
Douglas Keesey
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9781628466973
- eISBN:
- 9781628467024
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628466973.001.0001
- Subject:
- Film, Television and Radio, Film
Over the last five decades, the films of director Brian De Palma (b. 1940) have been among the biggest successes (The Untouchables and Mission: Impossible) and the most high-profile failures (The ...
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Over the last five decades, the films of director Brian De Palma (b. 1940) have been among the biggest successes (The Untouchables and Mission: Impossible) and the most high-profile failures (The Bonfire of the Vanities) in Hollywood history. De Palma helped launch the careers of such prominent actors as Robert De Niro, John Travolta, and Sissy Spacek. Picketed by feminists protesting its depictions of violence against women, Dressed to Kill helped to create the erotic thriller genre. Scarface, with its over-the-top performance by Al Pacino, remains a cult favorite. In the twenty-first century, De Palma has continued to experiment, incorporating elements from videogames (Femme Fatale), tabloid journalism (The Black Dahlia), YouTube, and Skype (Redacted and Passion) into his latest works. What makes De Palma such a maverick even when he is making Hollywood genre films? Why do his movies often feature megalomaniacs and failed heroes? Is he merely a misogynist and an imitator of Alfred Hitchcock? To answer these questions, the book takes a biographical approach to De Palma's cinema, showing how De Palma reworks events from his own life into his films.Less
Over the last five decades, the films of director Brian De Palma (b. 1940) have been among the biggest successes (The Untouchables and Mission: Impossible) and the most high-profile failures (The Bonfire of the Vanities) in Hollywood history. De Palma helped launch the careers of such prominent actors as Robert De Niro, John Travolta, and Sissy Spacek. Picketed by feminists protesting its depictions of violence against women, Dressed to Kill helped to create the erotic thriller genre. Scarface, with its over-the-top performance by Al Pacino, remains a cult favorite. In the twenty-first century, De Palma has continued to experiment, incorporating elements from videogames (Femme Fatale), tabloid journalism (The Black Dahlia), YouTube, and Skype (Redacted and Passion) into his latest works. What makes De Palma such a maverick even when he is making Hollywood genre films? Why do his movies often feature megalomaniacs and failed heroes? Is he merely a misogynist and an imitator of Alfred Hitchcock? To answer these questions, the book takes a biographical approach to De Palma's cinema, showing how De Palma reworks events from his own life into his films.
Colin Eimer
- Published in print:
- 2012
- Published Online:
- February 2021
- ISBN:
- 9781906764401
- eISBN:
- 9781800340848
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906764401.003.0033
- Subject:
- Religion, Judaism
This chapter discusses a sermon based on the Falkland Islands War. Like many of his colleagues, Colin Eimer felt the need to address issues arising from the war in one of his sabbath sermons. Several ...
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This chapter discusses a sermon based on the Falkland Islands War. Like many of his colleagues, Colin Eimer felt the need to address issues arising from the war in one of his sabbath sermons. Several themes emerge from the text, but its central point is the condemnation of the jingoistic sentiments stoked by tabloid journalism. The preacher identifies a ‘brutalising process’ that tends to dehumanize the enemy and expose every presentation of a viewpoint that diverges from the government position to vituperative attack — as revealed by the firestorm of protest in the media and the House of Commons that followed the statement by a high BBC official that the grief felt by Argentine widows of sailors killed in action was no less painful and tragic than the grief felt by British widows. The preacher takes his stand in defence of this statement, insisting that despite the abhorrent policies of the Argentine government, the enemy soldiers and their loved ones are as fully human as one's own.Less
This chapter discusses a sermon based on the Falkland Islands War. Like many of his colleagues, Colin Eimer felt the need to address issues arising from the war in one of his sabbath sermons. Several themes emerge from the text, but its central point is the condemnation of the jingoistic sentiments stoked by tabloid journalism. The preacher identifies a ‘brutalising process’ that tends to dehumanize the enemy and expose every presentation of a viewpoint that diverges from the government position to vituperative attack — as revealed by the firestorm of protest in the media and the House of Commons that followed the statement by a high BBC official that the grief felt by Argentine widows of sailors killed in action was no less painful and tragic than the grief felt by British widows. The preacher takes his stand in defence of this statement, insisting that despite the abhorrent policies of the Argentine government, the enemy soldiers and their loved ones are as fully human as one's own.
Howard Pollack
- Published in print:
- 2007
- Published Online:
- May 2012
- ISBN:
- 9780520248649
- eISBN:
- 9780520933149
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520248649.003.0024
- Subject:
- Music, History, American
In the spring of 1929, Florenz Ziegfeld persuaded George and Ira to work on Show Girl. In the tradition of J.P. McEvoy's theatrical work, the novel satirizes American culture from greeting-card ...
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In the spring of 1929, Florenz Ziegfeld persuaded George and Ira to work on Show Girl. In the tradition of J.P. McEvoy's theatrical work, the novel satirizes American culture from greeting-card platitudes to congressional politics, here with an emphasis on the self-serving ties between tabloid journalism and the entertainment industry. Most critics thought the show rambling and incoherent, even if good entertainment in spots. By this time, Ziegfeld and the Gershwins had had a falling-out. On September 30, 1929, Gershwin signed a contract with the general manager of the Metropolitan Opera, Giulio Gatti-Casazza, to write an opera based on The Dybbuk, a play by Szymon Ansky. However, with The Dybbuk detained over copyright issues, Gershwin considered other possibilities.Less
In the spring of 1929, Florenz Ziegfeld persuaded George and Ira to work on Show Girl. In the tradition of J.P. McEvoy's theatrical work, the novel satirizes American culture from greeting-card platitudes to congressional politics, here with an emphasis on the self-serving ties between tabloid journalism and the entertainment industry. Most critics thought the show rambling and incoherent, even if good entertainment in spots. By this time, Ziegfeld and the Gershwins had had a falling-out. On September 30, 1929, Gershwin signed a contract with the general manager of the Metropolitan Opera, Giulio Gatti-Casazza, to write an opera based on The Dybbuk, a play by Szymon Ansky. However, with The Dybbuk detained over copyright issues, Gershwin considered other possibilities.
