Global Media, History of

Author(s):  
Dwayne Winseck
Communication ◽  
2020 ◽  
Author(s):  
Sönke Kunkel

Inspired by the “global turn” in the humanities and social sciences, the history of global media has developed into a burgeoning interdisciplinary field in recent years and now integrates a wide spectrum of diverse approaches and disciplines, ranging from media and communication studies over political science to history. This article reviews particularly the newer historical scholarship which has seen a major rise of output in recent years and has added much new empirical insight to the field. The focus is especially on works covering the 19th and 20th centuries and it concentrates first on newer works on global telegraphy and news agencies as well as on broader overviews. The second part of this article then maps works on the classic mass media in Africa, Asia, and Latin America: print, radio, and television, with a few glimpses toward cinema. It concludes with a section on the Cold War. Global media history means three things in the context of this article: (1) the history of media as global connectors and forces of globalization that enabled and promoted transnational flows of news, texts, pictures, information, ideas, and lifestyles; (2) the history of mass media in regions beyond the United States and Europe; and (3) the history of the ways in which governments and other historical actors used media to promote cross-national and international connections, messages, and interactions. The underlying understanding here, then, is that writing global media history involves as much a specific perspective on entanglements and interconnections as it is a programmatic effort to decenter existing European and US-centered national historiographies and enrich those with Latin American, African, and Asian experiences. The first studies on global media already appeared in the 1960s and 1970s. Mostly written by social scientists and communication scholars under contract by governments or UNESCO (United Nations Educational, Scientific and Cultural Organization), those works mapped the contemporary media environments of African, Asian, and Latin American countries, but usually also touched on historical developments. Common themes of those works were the media policies of the postcolonial state and the charge of cultural imperialism. Genuinely historical works on global mass media only began appearing from the mid-1980s on and initially focused on the interrelationships between diplomacy and global communications. Since the 2000s the historical study of global media has gradually broadened, and now overlaps considerably with other fields such as imperial history, business history, the history of public diplomacy and propaganda, and even ocean studies, making it a highly dynamic and fast-growing field.


2012 ◽  
Vol 3 (1) ◽  
pp. 97-104
Author(s):  
Friedrich Kittler

Der Vortrag schlägt vor, nicht mehr den Menschen als letzte Referenz und vertrauten Maßstab der Architektur zu setzen, sondern Architekturen als Mediensysteme zu denken. Eine noch ungeschriebene Mediengeschichte der Architektur sollte daher auch und gerade in historischer Absicht nach formalen Entsprechungen zwischen Techniken des Entwerfens und solchen der Bauten suchen, in denen Praxis und Produkt zusammenfallen. </br></br>The paper proposes the consideration of architecture(s) as a media system, instead of imposing man as its ultimate reference and known measure. A media history of architecture – which remains to be written – should therefore search for formal correspondences between techniques of drafting and those of buildings, in which practice and product coincide.


Author(s):  
Ann Werner

This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.


Author(s):  
Cristina Vatulescu

This chapter approaches police records as a genre that gains from being considered in its relationships with other genres of writing. In particular, we will follow its long-standing relationship to detective fiction, the novel, and biography. Going further, the chapter emphasizes the intermedia character of police records not just in our time but also throughout their existence, indeed from their very origins. This approach opens to a more inclusive media history of police files. We will start with an analysis of the seminal late nineteenth-century French manuals prescribing the writing of a police file, the famous Bertillon-method manuals. We will then track their influence following their adoption nationally and internationally, with particular attention to the politics of their adoption in the colonies. We will also touch briefly on the relationship of early policing to other disciplines, such as anthropology and statistics, before moving to a closer look at its intersections with photography and literature.


2021 ◽  
pp. 101269022199365
Author(s):  
Ilan Tamir

The enormous success of The Last Dance, the sports documentary on Michael Jordan’s career, and especially his last season, is the result of a rare confluence of factors, each of which is a unique and rare phenomenon in the history of sport. Their combination has already turned the mini-series into a global media event of the kind that is usually reserved for live broadcasts of extraordinary events. A basketball player with unusual personal and professional abilities, supported by a highly polished and well-oiled marketing system; the specific window of time in which his star shone – the late 1990s, when the era of media commercialization and globalization flourished, yet before the emergence of social media and their typical critical discourse; the rise in sports documentaries in recent years; and encasing all of these is the time of the documentary’s broadcast, when sports life across the world ceased due to the coronavirus. The mini-series, which seemingly deals with a single season in the career of a single player in a single sport, is actually so much more. It is a composition reflecting much wider social, sports and media phenomena.


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