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In 1977, Jeremy Tunstall published the landmark The Media Are American. In it, he argued that while much of the mass media originated in Europe and elsewhere, the United States dominated global media because nearly every mass medium became industrialized within the United States. With this provocative follow-up, Tunstall chronicles the massive changes that have taken place in the media over the past forty years--changes that have significantly altered the "balance of power" within the global media landscape. The Media Were American demonstrates that both the United States and its mass media have lost their previous moral leadership. Instead of sole American control of the world news flow, we now see a world media structure comprised of interlocking national, regional, and cultural systems. From a relentlessly global point of view, Tunstall looks closely at China and India--and at their rapidly burgeoning populations--and also at the rise of the mass media in the Muslim world. He considers the role of the media in the collapse of the Soviet Union, the ascendance of the Brazilian and Mexican soap opera, the increasing strength of "Bollywood"--the national cinema output of India--and the relative decline in influence of U.S. media. Reconsidering the very notion of "global media," the book posits a reemergence of stronger national cultures and national media systems.
"Part treatise, part memoir, part call to action, Tell Me How It Ends inspires not through a stiff stance of authority, but with the curiosity and humility Luiselli has long since established." —Annalia Luna, Brazos Bookstore "Valeria Luiselli's extended essay on her volunteer work translating for child immigrants confronts with compassion and honesty the problem of the North American refugee crisis. It's a rare thing: a book everyone should read." —Stephen Sparks, Point Reyes Books "Tell Me How It Ends evokes empathy as it educates. It is a vital contribution to the body of post-Trump work being published in early 2017." —Katharine Solheim, Unabridged Books "While this essay is brilliant for exactly what it depicts, it helps open larger questions, which we're ever more on the precipice of now, of where all of this will go, how all of this might end. Is this a story, or is this beyond a story? Valeria Luiselli is one of those brave and eloquent enough to help us see." —Rick Simonson, Elliott Bay Book Company "Appealing to the language of the United States' fraught immigration policy, Luiselli exposes the cracks in this foundation. Herself an immigrant, she highlights the human cost of its brokenness, as well as the hope that it (rather than walls) might be rebuilt." —Brad Johnson, Diesel Bookstore "The bureaucratic labyrinth of immigration, the dangers of searching for a better life, all of this and more is contained in this brief and profound work. Tell Me How It Ends is not just relevant, it's essential." —Mark Haber, Brazos Bookstore "Humane yet often horrifying, Tell Me How It Ends offers a compelling, intimate look at a continuing crisis—and its ongoing cost in an age of increasing urgency." —Jeremy Garber, Powell's Books
Living in a segregated society, white Americans learn about African Americans through the images the media show. This text offers a look at the racial patterns in the mass media and how they shape the ambivalent attitudes of whites toward blacks.
A "compelling indictment of the news media's role in covering up errors and deceptions" (The New York Times Book Review) due to the underlying economics of publishing—from famed scholars Edward S. Herman and Noam Chomsky. With a new introduction. In this pathbreaking work, Edward S. Herman and Noam Chomsky show that, contrary to the usual image of the news media as cantankerous, obstinate, and ubiquitous in their search for truth and defense of justice, in their actual practice they defend the economic, social, and political agendas of the privileged groups that dominate domestic society, the state, and the global order. Based on a series of case studies—including the media’s dichotomous treatment of “worthy” versus “unworthy” victims, “legitimizing” and “meaningless” Third World elections, and devastating critiques of media coverage of the U.S. wars against Indochina—Herman and Chomsky draw on decades of criticism and research to propose a Propaganda Model to explain the media’s behavior and performance. Their new introduction updates the Propaganda Model and the earlier case studies, and it discusses several other applications. These include the manner in which the media covered the passage of the North American Free Trade Agreement and subsequent Mexican financial meltdown of 1994-1995, the media’s handling of the protests against the World Trade Organization, World Bank, and International Monetary Fund in 1999 and 2000, and the media’s treatment of the chemical industry and its regulation. What emerges from this work is a powerful assessment of how propagandistic the U.S. mass media are, how they systematically fail to live up to their self-image as providers of the kind of information that people need to make sense of the world, and how we can understand their function in a radically new way.
The National Book Award Finalist and New York Times bestseller that became a guide and balm for a country struggling to understand the election of Donald Trump "A generous but disconcerting look at the Tea Party. . . . This is a smart, respectful and compelling book." —Jason DeParle, The New York Times Book Review When Donald Trump won the 2016 presidential election, a bewildered nation turned to Strangers in Their Own Land to understand what Trump voters were thinking when they cast their ballots. Arlie Hochschild, one of the most influential sociologists of her generation, had spent the preceding five years immersed in the community around Lake Charles, Louisiana, a Tea Party stronghold. As Jedediah Purdy put it in the New Republic, "Hochschild is fascinated by how people make sense of their lives. . . . [Her] attentive, detailed portraits . . . reveal a gulf between Hochchild's 'strangers in their own land' and a new elite." Already a favorite common read book in communities and on campuses across the country and called "humble and important" by David Brooks and "masterly" by Atul Gawande, Hochschild's book has been lauded by Noam Chomsky, New Orleans mayor Mitch Landrieu, and countless others. The paperback edition features a new afterword by the author reflecting on the election of Donald Trump and the other events that have unfolded both in Louisiana and around the country since the hardcover edition was published, and also includes a readers' group guide at the back of the book.
For more than two hundred years, Americans have imagined and described Cuba and its relationship to the United States by conjuring up a variety of striking images--Cuba as a woman, a neighbor, a ripe fruit, a child learning to ride a bicycle. Louis A. Perez Jr. offers a revealing history of these metaphorical and depictive motifs and discovers the powerful motives behind such characterizations of the island as they have persisted and changed since the early nineteenth century. Drawing on texts and visual images produced by Americans ranging from government officials, policy makers, and journalists to travelers, tourists, poets, and lyricists, Perez argues that these charged and coded images of persuasion and mediation were in service to America's imperial impulses over Cuba.
Drawing from extensive archival research, the book uncovers the American media system's historical roots and normative foundations. It charts the rise and fall of a forgotten media-reform movement to recover alternatives and paths not taken.
Our nation began with the simple phrase, “We the People.” But who were and are “We”? Who were we in 1776, in 1865, or 1968, and is there any continuity in character between the we of those years and the nearly 300 million people living in the radically different America of today? With Made in America, Claude S. Fischer draws on decades of historical, psychological, and social research to answer that question by tracking the evolution of American character and culture over three centuries. He explodes myths—such as that contemporary Americans are more mobile and less religious than their ancestors, or that they are more focused on money and consumption—and reveals instead how greater security and wealth have only reinforced the independence, egalitarianism, and commitment to community that characterized our people from the earliest years. Skillfully drawing on personal stories of representative Americans, Fischer shows that affluence and social progress have allowed more people to participate fully in cultural and political life, thus broadening the category of “American” —yet at the same time what it means to be an American has retained surprising continuity with much earlier notions of American character. Firmly in the vein of such classics as The Lonely Crowd and Habits of the Heart—yet challenging many of their conclusions—Made in America takes readers beyond the simplicity of headlines and the actions of elites to show us the lives, aspirations, and emotions of ordinary Americans, from the settling of the colonies to the settling of the suburbs.
Throughout the twentieth century, public universities were established across the United States at a dizzying pace, transforming the scope and purpose of American higher education. Leading the way was California, with its internationally renowned network of public colleges and universities. This book is the first comprehensive history of California's pioneering efforts to create an expansive and high-quality system of public higher education. The author traces the social, political, and economic forces that established and funded an innovative, uniquely tiered, and geographically dispersed network of public campuses in California. This influential model for higher education, "The California Idea," created an organizational structure that combined the promise of broad access to public higher education with a desire to develop institutions of high academic quality. Following the story from early statehood through to the politics and economic forces that eventually resulted in the 1960 California Master Plan for Higher Education, The California Idea and American Higher Education offers a carefully crafted history of public higher education.
How did Puerto Ricans, Mexicans, and Cubans become known as “Hispanics” and “Latinos” in the United States? How did several distinct cultures and nationalities become portrayed as one? Cristina Mora answers both these questions and details the scope of this phenomenon in Making Hispanics. She uses an organizational lens and traces how activists, bureaucrats, and media executives in the 1970s and '80s created a new identity category—and by doing so, permanently changed the racial and political landscape of the nation. Some argue that these cultures are fundamentally similar and that the Spanish language is a natural basis for a unified Hispanic identity. But Mora shows very clearly that the idea of ethnic grouping was historically constructed and institutionalized in the United States. During the 1960 census, reports classified Latin American immigrants as “white,” grouping them with European Americans. Not only was this decision controversial, but also Latino activists claimed that this classification hindered their ability to portray their constituents as underrepresented minorities. Therefore, they called for a separate classification: Hispanic. Once these populations could be quantified, businesses saw opportunities and the media responded. Spanish-language television began to expand its reach to serve the now large, and newly unified, Hispanic community with news and entertainment programming. Through archival research, oral histories, and interviews, Mora reveals the broad, national-level process that led to the emergence of Hispanicity in America.