History of Media

Following the Chomsky-Herman theory, because tv channels “sell” public to advertisers, these latters can conditionate tv programms. Evoiding mechanical effects, I reflected about consequences on education of a whole generation, employng many sociological surveys and studies of this time (in particular Casetti, Bentivegna, Morcellini, Tullio-Altan, Pilati, Gabriele Calvi) and exploiting the interpretation of a protagonist (Carlo Freccero). Many pages discuss about the commercial, cultural and political strategy of Berlusconi.
There are also two chapters about the history of education in united Italy (ch. 3 and 4), and a long interview with two education psychologists (Oliverio Ferraris e Giani Gallino) and a sociologue of aducation (D’Amato) about influence of tv (ch.7).

La collezione donata dalla fotografa Marcella Pedone (1919) al Museo Nazionale Scienza e Tecnologia Leonardo da Vinci di Milano nel 2017, consistente in una banca di immagini documentarie di 170mila scatti e dell’intera attrezzatura di macchine e accessori utilizzata per produrli, è una testimonianza significativa dell’intero ciclo di vita della fotografia editoriale nel XX secolo, dalla sua produzione al suo uso e circolazione. Nel dialogo tra l’istituzione museale, orientata alla valorizzazione della cultura scientifica e tecnologica, e la volontà della donatrice di preservare la propria memoria professionale, la collezione Pedone si configura come una fonte per una storia della fotografia che vada oltre la cornice estetica dei singoli scatti, integrando le storie della tecnologia e della cultura visuale, tramite l’evidenza dei loro aspetti materiali e produttivi.

In 2017, the photographer Marcella Pedone (1919) donated an image bank of 170k documentary pictures to the Museo Nazionale Scienza e Tecnologia Leonardo da Vinci, together with the whole set of cameras and accessories used to produce them. This is a relevant account of the whole editorial photography’s life cycle in the 20th Century, from production to use and consumption. In the dialogue between the Museum, specialized in the scientific and technological culture, and the photographer, willing to preserve her professional memory, this collection set itself as a valuable source to narrate the history of photography beyond the aesthetics of single images; it allows to integrate the histories of technology and visual culture, thanks to the evidence of their material and productive aspects.

During the period of the 1940s to the 1970s, the number of media and their influence were continually expanding. New media-film technology and television-developed and started to occupy people's everyday lives. A history of visual media shows that early on images took the form of drawings, paintings, sculptures, caricatures, and posters and then expanded through photography, press, cinema, television. Images were experienced rarely, at first, later were more often published in newspapers, journals, leaflets, and posters to become an everyday consumption in the form of the television. Initially, broadcasting took only a few hours in the evening and on one channel only ; later it expanded to all day programming on multiple channels. Television replaced other sources of information, offering the public more and more news from the world. This fact has lead us to the pivotal question of what creates the experienced reality and how ? How was the everyday human experience shaped, and what was the role of the visual media in it ? In order to find answers to these questions, we have to look at the characteristics of the particular kinds of visual media.

In the last decade, the development of small, remotely operated multicopters with cameras, so-called drones, has made aerial photography easily available. Consumers and institutions now use drones in a variety of ways, both for personal entertainment and professionally. The application of drones in media production and journalism is of particular interest, as it provides insight into the complex interplay between technology, the economic and legal constraints of the media market, professional cultures and audience preferences. The thematic issue Journalism from Above: Drones, the Media, and the Transformation of Journalistic Practice presents new research concerning the role of drones in journalism and media production. The issue brings together scholars representing a variety of approaches and perspectives. A broad selection of empirical cases from Finland, Spain, Sweden, the UK and the US form the basis of an exploration of the changing relations between the media, technology and ...

As Editor-in-Chief at The Freelance Netizen™ online magazine, I edit, peer-review and supervise peer review services for all article and editorial submissions.

The Freelance Netizen™ explores the interdisciplinary connections between Information & Communication Technologies and the history of information culture, civil rights and social action. It critically addresses digital mediums as the intercultural confluence of global dialectics. A typical editorial at TFN magazine might explore the present and future directions of Intercultural Information Ethics and its crossroads with the latest WikiLeaks debate.

TFN magazine provides a crossroads between the academic applications of philosophy, technology and interculture with current events, looking to philosophies of communication and information as a platform for addressing questions of digital ontology. TFN magazine is currently exploring, alongside the International Centre for Information Ethics, applications of global citizenship in a digital era with a specific address of digital citizenship and the netizen.

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This chapter contextualizes the use of educational documentary film in West and East Harlem classrooms of the 1930's and 1940's within national and local mandates on film education. We pay particular attention to the exhibition practices of the Harlem Committee, the most politically assertive cadre of the New York City radical Teachers Union. The Teachers Union created the Harlem Committee in 1935 to mobilize West Harlem civic and religious groups, parents, students, and community members as well as teachers in the struggle against pervasive school inequality. In the 1940's, as administrative policy and anti-Communist discourses curtailed the Harlem Committee's ability to effect structural change, their work turned towards anti-racist educational practices and curricula., with a particular interest in current documentary film. As we will show, the Harlem Committee's promotion and exhibition of documentary included activist nuances missing from both national and local instantiations of film education, opening up the possibility for Harlem students' use of film and other media as a source of social identity and change.

This manuscript was discovered among Harold Innis's unpublished writings in his papers at the University of Toronto Archives (B72-0025/025). It bears the title and description given above, and is six and one-half single-spaced pages in length in a 10-point font. The manuscript is not accompanied by any material explaining its context and origins. However, a number of letters referring to it were located within Innis's correspondence (B72-0025/002 and B72-0025/003). (Details on these letters are provided in an article by Buxton and Dickens in this issue of CJC.) Aside from the adjustment of the pagination (the original page breaks have been indicated with consecutive numbers in square brackets) and the justification of the text, the only major change made to the typescript of the address has been the addition of endnotes (there are no references listed in the original transcript). These not only indicate (as far as possible) the sources that Innis used for his quotes, but provide information about persons, journals, organizations, events, and various other phenomena referred to by Innis, many of which would not be familiar to the contemporary reader. Résumé : Ce manuscrit a été découvert parmi les écrits inédits d'Harold Innis compris dans ses documents aux Archives de l'Université de Toronto (B72-0025/ 025). Il comporte le titre et la description indiqués ci-dessus, et compte six pages et demie à simple interligne dans une fonte de 10 points. Aucun matériel qui en expliquerait le contexte ou les origines n'accompagne le manuscrit. Cependant, quelques lettres y faisant référence ont été trouvées dans la correspondance d'Innis (B72-0025/002 et B72-0025/003). (L'article de Buxton et Dickens dans ce numéro du CJC fournit des détails sur ces lettres.) Le seul changement majeur apporté au manuscrit, hormis un ajustement de la pagination (avec des chiffres entre crochets indiquant la division en pages originale) et la justification du texte, a consisté à ajouter des notes en fin d'ouvrage (le texte original ne comportant aucune référence). En plus d'indiquer (dans la mesure du possible) les sources qu'Innis a utilisées pour ses citations, ces notes fournissent des informations sur les personnes, les revues, les organismes, les événements et divers autres phéno-mènes auxquels il s'est rapporté, y compris plusieurs qui seraient étrangers au lecteur contemporain.

(Sonderheft in Zusammenarbeit mit dem Historischen Archiv der Stadt Köln) Köln 2003, 104 Seiten, 32 SW-Abb. im Text, CD-Rom mit 361 Abb.
The early history of ART Cologne and the Gallery scene in Cologne in the sixities, including an annotated list of Film archival material from German television WDR.  Kunstmarkt Köln ‘67. Entstehung und Entwicklung der ersten Messe für moderne Kunst. 1966-1974
Sonstiger Inhalt: Editorische Notiz/ Günter Herzog: Aus dem Himmel auf den Markt. Die Entstehung der Kunstmesse und die „Säkularisierung“ der modernen Kunst / Brigitte Jacobs: Im Spannungsfeld zwischen Kunstelite und Populärlkultur. Der Kölner Kunstmarkt und seine Gegen- und Konkurrenz-veranstaltungen in der Medienkritik / Eberhard Illner: „Kenner, kauft Kunst in Köln auf dem Kunstmarkt 68”. Die Stadt Köln und der Kölner Kunstmarkt / Wilfried Dörstel: Die Kunstmesse: Denkrahmen, Selbstauskunft des Kunstmarkts und Senke der Kunst. Oder: Die Frage ist, wer das Sagen hat.