The Cold War was a media phenomenon. It was a daily cultural political struggle for the hearts and minds of ordinary people—and for government leaders, a struggle to undermine their enemies’ ability to control the domestic public sphere. This collection examines how this struggle played out on screen, radio, and in print from the late 1970s through the early 1990s, a time when breaking news stories such as Ronald Reagan’s “Star Wars” program and Mikhail Gorbachev’s policy of glasnost captured the world’s attention. Ranging from the United States to the Soviet Union and China, these essays cover photojournalism on both sides of the Iron Curtain, Polish punk, Norwegian film, Soviet magazines, and more, concluding with a contribution from Stuart Franklin, one of the creators of the iconic “Tank Man” image during the Tiananmen Square protests. By investigating an array of media actors and networks, as well as narrative and visual frames on a local and transnational level, this volume lays the groundwork for writing media into the history of the late Cold War.

Ideologies have not been a focus of interest in the field of humanities and social sciences in recent decades, but rethinking the power of ideologies in the media sphere has recently returned to the scholarly discussion. The compilation book “Mediated Ideologies: Nordic Views on the History of the Press and Media Cultures” participates in this by providing selected yet justified approaches to media history from the point of view of ideological uses of media in the Nordic region. In this book, the role of media – comprising both popular media and news journalism – as a forum for ideologies and their circulation will be analyzed by focusing on the Nordic region. The perceived similarities in the media systems of the Nordic countries constitute a perfect extent for a regional media history against not only a European but also a global backdrop. This does not mean that there have not been many national differences. The book does not provide a chronological narrative of Nordic media history. Still, the ideology of media is approached not only from the standpoints of different media forms – film, television, newspapers, magazines, and periodicals – but also from several historical periods from the mid-19th century to the late 20th century. The chapters show the multidimensional role that the media has in transmitting ideologies to their audiences and the public sphere. They also demonstrate that analyzing the role of different ideologies, such as modernization, nationalism, solidarity, feminism, and peace movement in media history provides wider perspectives in understanding past and present media landscapes and people’s mediated experiences that are fostered by them. “Mediated Ideologies: Nordic Views on the History of the Press and Media Cultures” can be used both as a reference book and as a classroom adaption in the field of media, communication, and history studies.

Why were Hollywood producers eager to film on the other side of the Iron Curtain? How did Western computer games become popular in socialist Czechoslovakia's youth paramilitary clubs? What did Finnish commercial television hope to gain from broadcasting Soviet drama? Cold War media cultures are typically remembered in terms of an East-West binary, emphasizing conflict and propaganda. Remapping Cold War Media, however, offers a different perspective on the period, illuminating the extensive connections between media industries and cultures in Europe's Cold War East and their counterparts in the West and Global South. These connections were forged by pragmatic, technological, economic, political, and aesthetic forces; they had multiple, at times conflicting, functions and meanings. And they helped shape the ways in which media circulates today—from film festivals, to satellite networks, to coproductions. Considering film, literature, radio, photography, computer games, and television, Remapping Cold War Media offers a transnational history of postwar media that spans Eastern and Western Europe, the Nordic countries, Cuba, the United States, and beyond. Contributors draw on extensive archival research to reveal how media traveled across geopolitical boundaries; the processes of translation, interpretation, and reception on which these travels depended; and the significance of media form, content, industries, and infrastructures then and now.

We are living in turbulent times, witnessing renewed international conflict, resurgent nationalism, declining multilateralism, and a torrent of hostile propaganda. How are we to understand these developments and conduct diplomacy in their presence? Nicholas J. Cull, the distinguished historian of propaganda, revisits the international media campaigns of the past in the light of the challenges of the present. His concept of Reputational Security deftly links issues of national image and outreach to the deepest needs of any state, rescuing them from the list of low-priority optional extras to which they are so often consigned in the West. Reputational Security, he argues, comes from being known and appreciated in the world. With clarity and determination, Cull considers core tasks, approaches, and opportunities available for international actors today, including counterpropaganda, media development, diaspora diplomacy, cultural work, and – perhaps most surprisingly of all – media disarmament. This book is crucial for all who care about responding to the threat of malign media disruption, revitalizing international cooperation, and establishing the Reputational Security we and our allies need to survive and flourish. Reputational Security is enlightening reading for students and scholars of public diplomacy, international relations, security studies, communications, and media, as well as practitioners.

Sino-US relation that has great influence on international relations is considered as the most important bilateral relation in the world today by politicians and scholars from both of the two countries. The development of Sino-US relation has undergone twists and turns since the two countries established diplomatic relation. Although China and America has developed cooperative relationship in various areas, critical events resulted from conflicts happen from time to time. Media that plays various roles including message transmitter, public opinion shaper and problem solver during the two countries’ crisis is not only an important information channel for both the government and the people to learn about the crisis quickly, but also undertakes certain diplomatic duties like indicating attitude, explaining policy and setting agenda. This book is an analysis of the features and laws of media coverage on critical events between China and America, discussing their influence on public opinion of American people as well as the decision-making progress of American government by study the related reports of New York Times since 1990. This book takes some China-US crisis as study cases and the related reports in New York Times as researching sample, analyzing the quantity, length, type, information source, inclination towards China and news frame of the reports, discussing the features and laws of media coverage on crises between China and America. The ultimate purpose is to figure out the role and function of media during the decision-making process of America’s China policy and to conclude the inspiration for both countries’ diplomacy and international communication.

The film industry was an important propaganda element during the Cold War. As with other conflicts, the Cold War was fought not just with weapons, but with words and images. Throughout the conflict, cinema was a reflection of the societies, the ideologies, and the political climates in which the films were produced. On both sides, great stars, major companies, famous scriptwriters, and filmmakers were enlisted to help the propaganda effort. It was not only propaganda that was created by the cinema of the Cold War – it also articulated criticism, and the movie industries were centres of the fabrication of modern myths. The cinema was undoubtedly a place of Cold War confrontation and rivalry, and yet there were aesthetic, technical, narrative exchanges between West and East. All genres of film contributed to the Cold War: thrillers, westerns, comedies, musicals, espionage films, documentaries, cartoons, science fiction, historical dramas, war films, and many more. These films shaped popular culture and national identities, creating vivid characters like James Bond, Alec Leamas, Harry Palmer, and Rambo. While the United States and the Soviet Union were the two main protagonists in this on-screen duel, other countries, such as Britain, Germany, Poland, Italy, and Czechoslovakia, also played crucially important parts, and their prominent cinematographic contributions to the Cold War are all covered in this volume. This book was originally published as a special issue of Cold War History.

Scholars of international relations and international communications view the extent of media freedom from country to country as a key comparative indicator either by itself or in correlation with other indices of national political and economic development. This indicator serves as a bellwether for gauging the health and spread of democracy. Historical Guide to World Media Freedom brings together comprehensive historical data on media freedom since World War II, providing consistent and comparable measures of media freedom in all independent countries for the years 1948 to the present. The work also includes country-by country summaries, analyses of historical and regional trends in media freedom, and extensive reliability analyses of media freedom measures. The book’s detailed information helps researchers connect historical measures of media freedom to Freedom House’s annual Freedom of the Press survey release, enabling them to extend their studies back before the 1980s when Freedom House began compiling global press freedom measures. Key Features: A-to-Z, country-by-country summaries of the ebb and flow of media freedom are paired with national media freedom measures over time. Introductory chapters discuss such topics as the theoretical premises behind the nature and importance of media freedom, historical trends, and the challenges of coding for media freedom in a way that ensures consistency for comparison. Concluding material covers the historical patterns in media freedom, how media freedom tracks with other cross-national indicators, and more. Accessible to students and scholars alike, this groundbreaking reference is essential to collections in political science, international studies, and journalism and communications.

"Whether the issue is the rise of religiously inspired terrorism, the importance of faith based NGOs in global relief and development, or campaigning for evangelical voters in the U.S., religion proliferates in our newspapers and magazines, on our radios and televisions, on our computer screens and, increasingly, our mobile devices. Americans who assumed society was becoming more and more secular have been surprised by religions' rising visibility and central role in current events. Yet this is hardly new: the history of American journalism has deep religious roots, and religion has long been part of the news mix. Providing a wide-ranging examination of how religion interacts with the news by applying the insights of history, sociology, and cultural studies to an analysis of media, faith, and the points at which they meet, The Oxford Handbook of Religion and the American News Media is the go-to volume for both secular and religious journalists and journalism educators, scholars in media studies, journalism studies, religious studies, and American studies. Divided into five sections, this handbook explores the historical relationship between religion and journalism in the USA, how religion is covered in different media, how different religions are reported on, the main narratives of religion coverage, and the religious press."--Publisher's website.

Publisher Description

This book is an anthology of work by critical media scholars, media makers, and activists who are committed to advancing social justice. Topics addressed include but are not limited to international media activist projects such as the Right to Communication movement and its corollaries; the importance of listening and enacting policies that advance democratic media; regional and local media justice projects; explorations of the challenges the era of participatory media pose to public media; youth and minority media projects and activism; ethical dilemmas posed by attempts to democratize access to media tools; the continued marginalization of feminist perspectives in international policy venues; software freedom and intellectual property rights; video activism in both historical and contemporary contexts; internet strategies for defending dissenting voices; and five accounts by prominent scholar/activists of their lifelong struggles for media justice.