underground press
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Knygotyra ◽  
2021 ◽  
Vol 77 ◽  
pp. 236-276
Author(s):  
Tomas Petreikis

This article deals with propaganda activities, such as publishing proclamations (20 publications), revolutionary songs (1), and underground periodicals (1), by local organizations of the Bund, LSDDP, LSDP and RSDDP in Šiauliai in 1904–1914. Political changes in Russia in 1904–1907 created favorable conditions for social democratic organizations to actively carry out propaganda activities, but the intensity at which they were carried out was not uniform across Lithuania. The proletarian profile of Šiauliai and the particularly active activity of the LSDP allowed to mobilize propagandists in a short time, to prepare the necessary proclamations on the spot, and to provide the necessary press equipment. During the years of the revolution (1905–1907), Šiauliai had to emerge as the second center of the social democratic movement in Lithuania. After the defeat of the revolution in Russia, due to the increased persecution of social democratic forces, the underground organizations failed to mobilize their press capacity or develop more active propaganda events; therefore, the political parties even had to suspend the activities of local organizations in Šiauliai. The integration of social democratic youth into the social democratic organizations of Šiauliai took place in c. 1912 and gave hope for a stronger revival of propaganda. The resumption of activities ceased in the first years of the First World War. The large-scale underground press developed in underground conditions expressed the expectations of the local population, reflected the involvement of parties in the formation of political views of the urban population, and was a counterweight to official information. Therefore, its assessment is inseparable from the realities of the political context of that time.


2021 ◽  

Revolutionaries and romantics, Dadaists and dissidents—these are some of the self-publishing traditions that zine communities embrace and embody. Zines are printed publications characterized by idiosyncratic themes, noncommercial motives, low budgets, do-it-yourself aesthetics, and an independent spirit. They are produced by individuals or collectives of writers, editors, graphic designers, and other artists sometimes known as zinesters. Zines first emerged among sci-fi enthusiasts and later spread through the countercultural, feminist, and punk-rock movements. Zines are a form of alternative media related to, yet distinct from, similar genres such as the left-wing little magazines of the 1930s as well as the later underground press and alternative press. The term fanzine, a contraction coined in the 1940s, preceded the term zine, adopted in the 1970s, although the two words are often used interchangeably. Some consider the former a subset of the latter, signifying only publications made by fans of a particular cultural form or genre (such as science fiction, punk rock, football/soccer, nostalgic TV sitcoms, horror movies, Asian pop culture, or Super-8 filmmaking). These self-publications proliferated in tandem with cheap, accessible reproduction technologies like photocopiers and desktop computers. The term e-zines, a once-fashionable reference to “electronic magazines,” typically denotes web publications that espouse a more professionalized and commercialized ethos than printed zines do. Zines are important social, cultural, and visual documents of the periods in which they are made. These do-it-yourself (DIY) publishers established a graphic language and “zine aesthetic” that significantly influenced mainstream design. Due to the diversity of zines and their producers, people in a wide range of academic disciplines show interest in how these publications are made and used. Many scholars of communication and media studies view zine-making as an exemplar of democratic expression, inclusion, and participation as well as an important shaper of social identities and communities. Zines are popular objects of study in areas such as American studies, graphic design, linguistics, popular culture, sociology, women’s studies, youth studies, and more. Zine collections are valuable resources for archivists, librarians, and educators, as well as for researchers. While the existing canon of scholarship on zines and communication includes many materials from the United States and the United Kingdom, there are also substantial zine communities in South America (including Argentina and Brazil), continental Europe (including Czech Republic, France, Germany, Greece, Netherlands, Portugal, Russia, Slovakia, and Switzerland), Australia, Indonesia, and elsewhere. The materials presented in this article emphasize riot grrrl, feminism, fanzines, and technology because these aspects of zine publishing have received comparatively more attention from scholars in the field of communication than have other zine genres and subjects.


2021 ◽  
Author(s):  
Rachel Lobo

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.


2021 ◽  
Author(s):  
Rachel Lobo

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.


2021 ◽  
Author(s):  
Rachel Lobo

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.


2021 ◽  
Author(s):  
Rachel Lobo

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.


2021 ◽  
Vol 9 (SPE2) ◽  
Author(s):  
Oleg Vyacheslavovich Bodrov ◽  
Almaz Vasilovich Zakirov ◽  
Luiza Kajumovna Karimova ◽  
Anna Andreevna Kirpichnikova

The Underground Press Syndicate (UPS), later known as Alternative Press Syndicate (APS), was a chain of countercultural newspapers and magazines created in the middle of 1966 by publishers of five early underground newspapers «The East Village Other», «The Los Angeles Free Press», «The Berkeley Barb», «The Paper» and «Fifth Estate». By 1974 the majority of underground papers in the USA ceased to exist but they had an impact on journalistic processes during 1970-s that led to the press development in small towns and countryside giving alternative opinion about local news, cultural news, Native Americans’ politics, ecology, youth and anti-military movements. The article considers the history of “underground press” in the USA, its role and importance for Countercultural Revolution of the 1960-s, which was countrywide in the USA and covered all areas of life.


2020 ◽  
Vol 90 ◽  
pp. 53-79
Author(s):  
Andrius Vaišnys

This text is about one of the longest processes of political communication, which, decades on, influences politicians of various generations of the Central, Eastern and Western Europe, contents of media and self-awareness of the audience. The process isn’t over yet, this is obvious not only from the document adopted by the EP but also from an international political rhetoric. Analysis of consequences of the Molotov-Ribbentrop Pact signed on 1939 in media (D’39Pact) and related national and international decisions is the axis of information conflict between the East and the West concerning thousands of fates. Those thousands of people had and still have different historical narratives – some people justified the Pact and implemented it, others were fighting for the elimination of its consequences, yet others fell victims to it, with a death toll estimated in the millions. But not everybody’s narratives are based on true arguments.Let’s look at the way the system of propaganda collapsed and the public opinion was transformed in countries of Central and Eastern Europe in 1988-1989. Moving from a lie to (hopefully) the historical truth. Review of consequences of the Molotov-Ribbentrop Pact was the main axis of such transformation (protection of environmental and cultural valuables, choice of one’s viewpoint, legislative requirements and other rights were contextual aspects of this axis). During this period in the previously mentioned region the control of public space was on the decline.This view will be based on a single thematic discourse: the provision of consequences of the 1939 Treaty of Non-aggression between Germany and the Union of Soviet Socialist Republics and criticism in communist model media of Lithuania and neighbouring countries. It may be called D’39Pact.D‘39Pact in general has several narratives (it may also be seen from the EP Resolution), but taking into consideration the interpretation of Jurgen Habermas’s Communicative Action, the analysis of transformation of 1988-1989 two of them would suffice, one of which is that of the authorities of the USSR and the other one – that of its opponents. Let’s call opponents USSR dissidents, protestors, underground press (samizdat) and press of public movements which was published legally.Narrative of the USSR authorities: the treaty was the inevitable and no annexes (secret protocols) exist.Narrative of the opponents: based on secret protocols of the treaty, the USSR and Nazi Germany divided the countries and destroyed their political, military, cultural elite and finally – their population of various social layers.Medias, as the main participant of the public space, most clearly disclose the collision of such narratives and transformation in D‘39Pact. The purpose of the article is to discuss the circumstances of transformation of MMPT from the historical perspective and of the public space and come across the factors, which influenced the strongest role of MMPT interpretative accomplishments. Considering the way out of the “labyrinth” regarding the D’39 Pact, we see some similarities with the situation that now exists in Russia.


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