2002 Socialist Scholars Conference

Total Page:16

File Type:pdf, Size:1020Kb

2002 Socialist Scholars Conference Updated April 8, 2002 Temporary Cover 2002 Socialist Scholars Conference Cooper Union for the Advancement of Art and Science Foundation Building 7 East 7 Street New York, NY 10003 Friday April 12 7:30 pm doors open 5:30 Saturday April 13 10:00 am doors open 9:00 exhibits open 9:30 Sunday April 14 10:00 am doors open 9:00 exhibits open 9:30 Transportation: #6 train to Astor Place N / R train to 8th Street Station On Site Registration: $45 Regular $30 Low Income $25 One Day $15 Student Come See: 87 Panels 297 Speakers Book Exhibits For more information: 212.817.7868 or visit our website socialistscholar.org 2002 Socialist Scholars Conference Updated April 8, 2002 2002 SOCIALIST SCHOLARS CONFERENCE Bogdan Denitch, Chair Organizers Eric Canepa David Baumel Anora Mahmudova, Exhibits and Advertising Manager Daphne Carr, Press Liaison Erin Finnerty, Press Liaison Chris Agee, Web Design Greg Zucker, Book Ads, Video Coordinator, Publicity Team Jonathan Walsh, Video Coordinator, Publicity Team Eloisa Gordon, Program Jennifer Kramer, Speakers’ Travel Coordinator Juanita Webster, Registar Volunteers: Perry Bernstein, Margaret Wilig Crane, Roger Crane, Gregory Diamant, Suzanne Gottlieb, Donald Holloway, Erin Kaiser, Peter Kott, Patricia Krüger, Steven Levine, Ludmila Melchior, Jay Mazur, Larry Miller, Juliana Neuspiel, Robert Sauté, Jason Schulman Board of advisors: Stanley Aronowitz Jack L. Hammond Jan Rehmann Mary Boger Carl Johnson Gerardo Rénique Stephen Brier Peter Kwong Colin Robinson Stephen Eric Bronner Mahmood Mamdani Robert J. S. Ross Joseph A. Buttigieg Manning Marable Nan Rubin Lynn Chancer David Maurrasse Robert Sauté Hester Eisenstein John G. Mason Neil Smith Keitha S. Fine Liz Mestres William K. Tabb Josh Freeman Gina Neff Joel Washington Marvin Gettleman Leo Panitch Ian Williams Jeffrey Gold Frances Fox Piven Eloisa Gordon Charles Price-Reavis Special thanks: At The Cooper Union for the Advancement of Science and Art: President George Campbell Jr.; David Greenstein, Director of Cooper Union Adult Education and Public Programs; Christine Sarkissian, [get title]; John Lynch, Winston Wilkerson At the Graduate Center, CUNY: Democratic Socialists of America , Doctoral Student Council, and Ph.D. Program in Sociology At the national office of Democratic Socialists of America: Frank Llewllyn For recordings of sessions, contact Radio Free Maine www.radiofreemaine.com Cover design: Daphne Carr; design and layout of program: Anora Mahmudova 2002 Socialist Scholars Conference Updated April 8, 2002 Opening Plenary Friday 7:30 Room: 115 - Engineering 6. Taking Power: Green Visions Room: Great Hall - Foundation Building Sponsor: Westside Greens 1. After 9/11: New Politics for Social Chair: Julia Willibrand Westside Greens Movements and the Left Howie Hawkins New York State Green Party Joel Kovel NY State Green Party Sponsor: Socialist Scholars Conference Barbara Garson author, Money Makes the World Go Chair: Bogdan Denitch Transition to Democracy Around Elaine Bernard Harvard Trade Union Program Bernard Cassen ATTAC-France Room: 315 - Foundation Manning Marable Black Radical Congress Dot Keet Alternative Information and Development Center, 7. Culture and Commodification S. Africa Sponsor: Socialist Scholars Conference Tariq Ali New Left Review Chair: Randal Doane College of Wooster, Wooster, Ohio Saturday 10:00 — 11:50 am Stephen Eric Bronner Rutgers University Philip Green New School University Marshall Berman CUNY Graduate Center Room: Great Hall - Foundation 2. Clash of Fundamentalisms Room: 643 - Engineering Sponsor: Socialist Scholars Conference 8.5. Philanthropy and the Left Chair: Wadood Hamad Campaign Against Sanctions Sponsor: Socialist Scholars Conference and Dictatorship in Iraq Chair: David Maurrasse Columbia University Edward Said Columbia University Colin Greer New World Foundation Nawal El-Saadawi author, Woman at Point Zero TBA Tariq Ali New Left Review Room: 605 - Engineering Room: Wollman Auditorium - Engineering 3. The World Economy in Crisis 9. Argentina in World Context Sponsor: NACLA, Union for Radical Political Economics, Sponsor: Monthly Review Dollars & Sense Chair: Harry Magdoff Monthly Review Chair: Hobart A. Spalding Socialism and Democracy John Bellamy Foster Monthly Review Carlos Vilas Universidad Nacional de Lanús (Argentina) Ilene Graebel Stella Calloni La Jornada (Mexico) Michael Yates Monthly Review Paul Cooney Brecht Forum Room: Hewitt Auditorium - Hewitt 4. Reparations Room: 609 - Engineering Sponsor: Socialist Scholars Conference 10. How Can the Marxist Theory of the State Chair: Joel Washington Brecht Forum Help Us Understand the War Against Maulana Karenga California State University, Long Terrorism Beach Sponsor: Socialist Scholars Conference Charles Baron New York City Council Chair: John Manley Stanford University Kibibi Tyehimba NCOBRA, Washington DC Bertell Ollman New York University Muntu Matsimela Black Radical Congress John Ehrenberg Long Island University Roger Green New York State Assembly Savas Michael Matsas University of Athens Joel Washington Black Radical Congress Room: 643 - Engineering Room: Wollman Lounge - Engineering 11. The Future of the Women's Movement: 5. Daniel Singer 2001 Prize: Anti-Capitalism Class, Race, and Globalization and the Terrain of Social Justice Sponsor: Socialist Scholars Conference Sponsor: The Daniel Singer Millennium Prize Foundation Chair: Hester Eisenstein CUNY Graduate Center Chair: Percy Brazil The Daniel Singer Millennium Prize Mojubaolu Okome Brooklyn College Foundation Johanna Brenner Portland State University Sam Gindin York University; recipient of 2001 Daniel Eleni Varikas University of Paris VIII Singer Millennium Prize Bill Fletcher Transafrica Forum Immanuel Wallerstein Yale University 2002 Socialist Scholars Conference Updated April 8, 2002 Room: 713 - Foundation Saturday 1:30 — 3:20 pm 12. Organizing Immigrant Labor Sponsor: Working USA Room: Great Hall - Foundation Chair: Peter Kwong Hunter College 17. Just War? - A Debate Saru Jayaraman H.E.R.E. Workers Center Sponsor: The Nation Institute, Dissent Jerry Domínguez Mexican-American Workers Chair: Maxine Phillips Dissent Association Ian Williams The Nation Steve Jenkins Make the Road by Walking Tariq Ali New Left Review Aijen Poo Domestic Workers United Michael Walzer Dissent Stephen R. Shalom William Paterson University, NJ Lunchtime Panels 12:00 — 1:20 pm Room: Wollman Auditorium - Engineering Room: Hewitt Auditorium - Hewitt 18. The War on Terrorism and U.S. 13. Safety Orange - A Look at the Criminal Imperialism Justice System from an Architectual Sponsor: Monthly Review Perspective - A Film by James Davis Chair: Harry Magdoff Monthly Review (with discussion) Rahul Mahajan Nowar Collective Sponsor: Socialist Scholars Conference Susan Muaddi Darraj James Davis director - Safety Orange Bill Fletcher Transafrica Forum Juliana Fredman director - Safety Orange Christian Parenti author, Lockdown America Room: Hewitt Auditorium - Hewitt Peter Linebaugh University of Toledo 19. 9/11 - Ecology at Ground Zero: What the Government's Not Telling Us Room: 115 - Engineering Sponsor: Capitalism, Nature and Socialism 14. Alternative Media: Challenges and Chair: Joel Kovel Capitalism, Nature and Socialism Obstacles Juan González New York Daily News Sponsor: La Lutta Joel Kupferman New York Environmental Law and Chair: Antonino D'Ambrosio La Lutta Justice Project Simba Russo IndyMedia Marilena Christodoulou Stuyvesant High School Jen Angel Clamor Magazine Parent Association Dee Dee Halleck Paper Tiger TV Paul Bartlett The Center for the Biology of Natural Alfredo López People-Link Systems, Queens College Bala Konkoth Harlem Technology Center Jason Kucsma Clamor Magazine Room: Wollman Lounge - Engineering 20. The New Imperialism Room: 315 - Foundation Sponsor: Socialist Register 15. 9/11: What Does It Mean for the Left? Chair: Leo Panitch Socialist Register Sponsor: Social Text Peter Gowan University of North London Chair: Randy Martin New York University Michael Hardt Duke University Neil Smith CUNY Graduate Center Amory Starr Colorado State University Stefano Harney CUNY Graduate Center Atilio Borón CLACSO, Buenos Aires Joseph Massad Columbia University Sam Gindin Canadian Auto Workers Meena Alexander poet Rupal Oza Women's Studies, Hunter College Room: 234 - Engineering 21. Heidegger IV: Metaphysics, Oppression, Room: Billiard Room - Hewitt and Nazism 16. Remembering Stan Weir Sponsor: Workers' Democracy Conference Committee Sponsor: New Politics Chair: Matthew Helme Workers' Democracy Chair: Gabe Gabrielsky Green Party, New Jersey Conference Committee Kim Moody Labor Notes Johannes Fritsche Penn State University - University Staughton Lynd IMPACT Park Herman Benson Association for Union Democracy Alex Steinberg contributor, World Socialist Web Site Karl H. Nudelman Workers' Democracy Conference Committee 2002 Socialist Scholars Conference Updated April 8, 2002 Room: 315 - Foundation Saturday 3:30 — 5:20 pm 22. Labor and Global Capital Sponsor: Socialist Scholars Conference Room: Great Hall - Foundation Michael Rix Associated Society of Locomotive 26. ENRON - Unnatural Disaster Engineers and Firemen, Sponsor: Union for Radical Political Economics, The Damone Richardson Cornell University School of Nation, Dollars and Sense Industrial and Labor Relations Chair: Elizabeth Santucci New School University Geoff Ellis Fire Brigades Union, U.K. Ellen Frank Dollars and Sense, Emmanuel College Thea Lee AFL-CIO Nomi Prins former investment banker Tyson Slocum Public Citizen Room: 605 - Engineering Doug Henwood
Recommended publications
  • Media‑Aktivisme
    Media‑aktivisme Tegn, motstand og organisatoriske prosesser. Paper Tiger Tv, New York: ”Smashing the myths of the information industry” Hovedoppgave innlevert som del av Cand.Polit graden ved Sosialantropologisk Institutt UNIVERSITETET I OSLO, Våren 2007 Berit Nilsen Bua 2 Kort sammendrag av oppgaven: Denne oppgaven handler om en gruppe uavhengige Tv produsenter i New York kalt The Paper Tiger Television Collective. De lager Tv programmer med et uttalt mål om å åpne opp for større deltakelse i offentligheten ved å demokratisere tilgangen til medieproduksjon. I utgangspunktet stiller de seg kritiske til at massemedier som de hevder er en storindustri med hovedfokus på økonomisk profitt. Denne holdningen gir gruppen et politisk grunnlag for samarbeidet. De hevder selv at de ikke støtter seg til en større ideologisk plattform. Likevel tar de utgangspunkt i at ”mainstream” media oppleves som sterkt ideologisk, disiplinerende og begrensende, og kjemper med egne aktivistiske metoder mot dette. Paper Tiger kaller seg ”alternative”, og hovedmål for oppgaven er å belyse hva dette innebærer. I USA på midten av nittitallet kom en ny telekommunikasjons-lovgivning. I den forbindelse fulgte jeg aktivistenes arbeid med å synliggjøre og diskutere regjeringens motiver for lovgivningen. Temaet for oppgaven er å se på hvordan samarbeidet i Paper Tiger foregår, og måten de organiserer seg på. Gruppen definerer seg selv som en åpen og fri enhet uten leder eller rammebetingelser, der medlemmene kan komme og gå, og gjøre som de vil. Ut ifra denne definisjonen er det kanskje et paradoks at gruppen fortsatt er i drift, etter 25 år. I oppgaven ønsker jeg å sette søkelys på hva som gjør at gruppen fortsatt eksisterer.
    [Show full text]
  • Civil Disobedience July 18 – October 29, 2017
    MIT List Visual Arts Center 20 Ames Street, Building E15 Cambridge MA 02139 listart.mit.edu Civil Disobedience July 18 – October 29, 2017 COVER Patricia Silva, Mass Swell (still),2016, single-channel video, sound, 14:07 min. Courtesy the artist. ABOVE Third World Newsreel, America (still), 1969, single-channel video, sound, 30 min. Courtesy Third World Newsreel. Civil Disobedience Bakalar Gallery July 18 – October 29, 2017 List Projects: Civil Disobedience presents a program of documentaries, news footage, artist’s films and videos focusing on moments of political resistance and public demonstration from the early 20th century through today. Featuring records from 1930s “hunger marches,” the historic Civil Rights and women’s movements, anti-war action, gay liberation and AIDS activism, the Black Lives Matter movement, and recent Women’s Marches, the exhibition considers the history of resistance as well as the role that artists and documentarians play in chronicling and confronting abuses of power and social injustice. DAILY SCREENING PROGRAM 1. The Workers Film and Photo League The National Hunger March, 1931; 11 min. writers, and projectionists in the 1930s, America Today and The World in Review, dedicated to documenting the US Labor 1932; 11 min. Movement and using film and photography The Workers Film and Photo League was an for social change. Courtesy MoMA organization of filmmakers, photographers, Circulating Film & Video Library. 2. The 1960s: Civil Rights Movement Videofreex, Fred Hampton: Black Panthers Madeline Anderson, I Am Somebody, 1970; in Chicago, 1969; 23:10 min. 29:43 min. Formed in 1969 when David Cort and Madeline Anderson is a pioneering African- Parry Teasdale met at the Woodstock American television and documentary Music Festival, the Videofreex was a video producer, director, editor, and writer.
    [Show full text]
  • Advertising Age, Recognizing That Reagan's Election Was a Marketing Coup, Unashamedly Honored Richard Wirthlin As 1980'S
    1 Number 1 Winter 1987/88 EdItoriaI 1 The Propaganda Environment by Marcy Darnovsky Introducing PROPAGANDA REVIEW ... a new magazine that explores techniques of manipulation, our vulnerability to them, anda society obsessed with the “engineering of consent.” Departments 5 Ad Watch by Marina Hirsch Notes from an advertising addict. 7 Propaganda Watch The PROPAGANDA REVIEW Believe-It-or-Not. 32 Resources We are not alone: groups and publications you’ll want to know about. Features 9 Marketing Reagan by Johan Carlisle (Research assistance by Sheila O’Donnellj What makes Reagan popular? Sophisticated computers, strategic polling, and “Populus Speedpulse” are part of the answer. Meet the man who manufactures the teflon, Richard Wirthlin. 14 The Propaganda System: Orwell’s and Ours by Noam Chomsky In totalitarian states, everyone recognizes propaganda. In our country, it’s a different story. 19 Photography and Propaganda by David Levi Strauss Richard Cross and John Hoagland were award-winning photojournalists who worked and were killed in Central America. They had hoped to change the world by “photographing the truth.” 24 Vox Populi by Nina Eliasoph Olliemania has come and gone. On-the-street interviews tell us why-in more depth than a hundred high-tech polls. 27 That’s Entertainment by Jay Rosen The techniques of the consciousness industries-TV, advertising, entertainment-grow ever flashier. Will audiences burn out? Reviews 30 What Reagan Reads by Philip Paull Terrorism: How the West Can Win by Benjamin Netanyahu. The manufacture of Reagan’s campaign against “international terrorism.” PROPAGANDA REVIEW Winter 87/88 2 Editorial Editor Political Discourse Marcy Darnovsky in the Propaganda Environment Executive Editor Frederic Stout The problem with calling a magazine Propaganda USA Promotion Director Propaganda Review is that “propaganda” In the American political arena, the Rea- Philip Paull is a slippery concept, difficult to define.
    [Show full text]
  • Access Television and Participatory Political Communication
    DEMOCRATIC TALK, ACCESS TELEVISION AND PARTICIPATORY POLITICAL COMMUNICATION LAURA STEIN Abstract This study draws on the participatory political philosophy Laura Stein is Assistant of Benjamin Barber to assess the contribution of public Professor at the access cable television to political communication in the Department of United States. In contrast to neo-liberal political theory Communication, which views government-mandated media access as University of San infringing on the speech rights of media owners, Barbers Francisco. participatory democratic theory positions direct and widespread access to the media as a vital aspect of democratic processes. Barber puts forward a set of concepts which describe the various functions of democratic talk and which provide a theoretical framework for understanding some of the ways in which access television functions as a political communication resource. Using interviews and original source materials, the study examines the political uses of access television by radical media projects, a type of media seldom granted access to commercial or public television. In their attempts to organise and empower communities that have been under Vol.5 (1998), 2 represented or excluded from mainstream political dis- cussions and debates, these projects perform many of the functions Barber attributes to democratic talk. Conclusions drawn from the study suggest that access television hosts a range of democratic speech which is largely absent from professional media industries and which merits the support and protection of democratic states. 21 In the late 1960s and early 1970s, citizens around the United States established centres for the production and distribution of non-profit, community-oriented television. The movement for public access cable television, or community television, attempted to realise what was widely perceived at the time as the democratic potential of cable television.
    [Show full text]
  • Annual Report 2015-2016
    Weatherhead East Asian Institute Columbia University International Affairs Building 9th Floor, MC 3333 420 West 118th Street New York, NY 10027 ANNUAL REPORT Tel: 212-854-2592 Fax: 212-749-1497 2015-2016 WEATHERHEAD EAST ASIAN INSTITUTE ASIAN EAST WEATHERHEAD 2015–2016 REPORT ANNUAL UNIVERSITY COLUMBIA weai.columbia.edu TABLE OF CONTENTS COLUMBIA UNIVERSITY MAP: MORNINGSIDE CAMPUS & ENVIRONS 1 LETTER FROM THE DIRECTOR 1 2 THE WEATHERHEAD EAST ASIAN INSTITUTE 2 3 THE RESEARCH COMMUNITY 3 4 PUBLICATIONS 37 5 RESEARCH PROGRAMS OF THE WEATHERHEAD EAST ASIAN INSTITUTE AND AFFILIATED COLUMBIA CENTERS 40 6 PUBLIC PROGRAMMING 46 7 GRADUATE AND POSTDOCTORAL STUDIES 55 8 STUDENTS 57 9 ASIA FOR EDUCATORS PROGRAM 61 10 STAFF OF THE WEATHERHEAD EAST ASIAN INSTITUTE 63 11 FUNDING SOURCES 64 1 LETTER FROM THE DIRECTOR During the 2015–16 academic year, I have had the pleasure of directing the Weatherhead East Asian Institute at a time of exciting expansion. While the Institute remains strong in its traditional fields of East Asian social sciences, we have been growing in the direction of Asian humanities and Southeast Asian studies, and we have been innovating in the areas of digital humanities. And, while the Institute remains committed to deep local and regional knowledge, we have also been committed to updating traditional area studies by developing support for research and curriculum that link East Asia with the world and conceptualize East Asia in global terms. To support scholarship and teaching that examines East Asia through a global lens, the Institute suc- cessfully launched the Dorothy Borg Research Program this year.
    [Show full text]
  • Chris Hill Interviews Deedee Halleck 5/18/95
    Chris Hill interviews DeeDee Halleck 5/18/95 CH: We spoke before about activities that you were involved with in the 1970s, which eventually led to the formation of Paper Tiger TV and Communications Update as programs for public access cable in the late 70s, early 80s. Your experience with Shirley Clarke and her TP Video Space Troupe and with Videofreex and various education projects were very important in shaping your agenda. Your remarks have pointed to the value you found working collectively in the 70s and doing education with youth using film in the 1960s. DH: It probably started in the 50s because when I was in high school I worked at a commercial animation house in Chattanooga, Tennessee. I did inking and opaquing of animations for pork sausage commercials-Parks Pork Sausages . That was the first and last time I worked for the industry. It wasn't that bad of a place; I got 25 cents an hour and I worked my way up from being an opaquer to being an inker to being an inbetweener, which was traveling rapidly up the hierarchy of animation work. I was pretty good at it. I could probably have had a career in animation. But what blew me away at the same time was seeing Norman MCLaran's films where he actually painted directly on film. I knew what it took to make commercial images. That somebody could actually take a film and draw on it was enormously liberating for me. It completely demystified the whole process of animation. Actually the guy I worked with at the commercial house was really talented.
    [Show full text]
  • Media Arts Centers As Alternative Archival Spaces: Investigating the Development of Archival Practices in Non-Profit Media Organizations
    MEDIA ARTS CENTERS AS ALTERNATIVE ARCHIVAL SPACES: INVESTIGATING THE DEVELOPMENT OF ARCHIVAL PRACTICES IN NON-PROFIT MEDIA ORGANIZATIONS by Lindsay Kistler Mattock BA Film Studies, University of Pittsburgh, 2004 MLIS, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the School of Information Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH SCHOOL OF INFORMATION SCIENCES This dissertation was presented by Lindsay Kistler Mattock It was defended on June 10, 2014 and approved by Dr. Brian Beaton, Assistant Professor, Library and Information Science Dr. Sheila Corrall, Professor, Library and Information Science Dr. Annette Vee, Assistant Professor, Department of English Dissertation Advisor: Dr. Richard J. Cox, Professor, Library and Information Science ii Copyright © by Lindsay Kistler Mattock 2014 iii MEDIA ARTS CENTERS AS ALTERNATIVE ARCHIVAL SPACES: INVESTIGATING THE DEVELOPMENT OF ARCHIVAL PRACTICES IN NON- PROFIT MEDIA ORGANIZATIONS Lindsay Kistler Mattock, MLIS, PhD University of Pittsburgh, 2014 In the United States, archival institutions have prioritized the preservation of commercial and Hollywood cinema overlooking small-scale media production by non-professionals and independent media artists. Media arts centers, however, have played a pivotal role in the continued access, use, and preservation of materials produced by the communities that they serve. These non-profit media collectives were imagined as a distributed network of organizations supporting the production, exhibition and study of media; serving as information centers about media resources; and supporting regional preservation efforts. However, media arts centers have remained over-looked and unexplored by the archival field. This dissertation seeks to shift this balance, including these artist-run organizations as part of the network of archives and collecting institutions preserving independent media.
    [Show full text]
  • Nancy Kranich 136 N
    NANCY KRANICH 136 N. 7th Avenue Highland Park, NJ 08904-2932 732-985-1599 [email protected] EDUCATION M.P.A. New York University Graduate School of Public Administration, 1978, graduated with highest scholastic standing. PhD work (56 credits completed), 1982-1984. M.A. University of Wisconsin--Madison, Library Science, 1973, initiated into Beta Phi Mu Honorary Society. B.A. University of Wisconsin--Madison, Anthropology, 1972, graduated with honors. University of Pennsylvania, Historical Archaeology fieldwork, 1970. EXPERIENCE Rutgers University, 2009- . (1/2 time). Libraries, Librarian I (eqv. Full Professor--Promoted 2015), Special Projects Librarian; and School of Communication and Information, Lecturer—MLIS Program: Community Engagement; Information Policy; Intellectual Freedom; Colloquium; Guest Lecturer in Management of Library and Information Services, Transformative Library Leadership, Digital Libraries, Social Informatics, Digital Divide, Leadership Doctoral Seminar. Guest Lecturer for U. of IL, GSLIS, and U. of Washington Community Engagement Classes, 2003 – date. University of Wisconsin—Milwaukee, School of Information Studies, 2008-2009. Online Instructor, Free Speech and Information Ethics. Center for Information Policy, Information Ethics Fellowship, 2008-2009. Consultant and Guest Lecturer, 2004- . Policy, Planning, Programs, Promotion, Publishing, Teaching. Free Expression Policy Project, 2003-2004. Senior Research Fellow. American Library Association, President Elect, 1999-2000; President, 2000-2001. Immediate Past President, 2001-2002. Elected President of this 66,000-member association. Theme--Libraries: the Cornerstone of Democracy. Projects: advocacy, information literacy partnerships, civil society building, demOcracy forums, smart voting, emerging democracies, and bridging the digital divide. New York University Libraries, 1978-2002. Associate Dean, 1992-2001. (On leave 2000-2002; retired 6/02 following 25 years of service) Chief operating officer for a major research library, university press, and academic media services.
    [Show full text]
  • Gerbner Series: the Killing Screens
    MEDIA EDUCATION F O U N D A T I O N STUDY GUIDE GERBNER SERIES: The Electronic Storyteller The Killing Screens The Crisis of the Cultural Environment Study Guide Written by LAURIE OULETTE CONTENTS OVERVIEW 3 THE ELECTRONIC STORYTELLER 4 TV As Storyteller 4 The Distorted World of Television 6 Discussion Questions 8 THE KILLING SCREENS 9 Rethinking Media Violence 9 The Scary World of Media Violence 11 Why So Much Violence? 14 George Gerbner on the TV Ratings System 17 Discussion Questions 21 Exercises 23 THE CRISIS OF THE CULTURAL ENVIRONMENT 25 Signs of Hope: The Cultural Environment Movement 25 What is Media Literacy? 27 Discussion Questions 28 RESOURCES 29 Media and Violence 29 Media Literacy 30 General Media 32 Publications by George Gerbner 35 MEDIA EDUCATION FOUNDATION | www.MEDIAED.org 2 This study guide may be reproduced for educational, non-profit uses only. © 1997 OVERVIEW Dr. George Gerbner is Bell Atlantic Professor of Telecommunication at Temple University, Dean Emeritus of the Annenberg School of Communication at the University of Pennsylvania, Director of the Cultural Indicators research project, and Founder and Director of the Cultural Environment Movement. From 1964 to 1989, he was Professor and Dean of The Annenberg School for Communication, University of Pennsylvania. He was editor of the Journal of Communication and chair of the editorial board of the International Encyclopedia of Communication. His publications include The Global Media Debate: Its Rise, Fall and Renewal (Ablex, 1993); Triumph of the Image: The Media's War in the Persian Gulf. A Global Perspective (Westview, 1992) and "Television Violence; the Power and the Peril." In Gail Dines and Jean M.
    [Show full text]
  • 4. the Collective Camcorder in Art and Activism
    the chan zied 1 colle glob, cons inch ably for tl opm exp' at tl and stud Ray hist arot at t FI G U R E 4. 1 . Crowd turns out in public screening room during the first Gulf War to watch antiwar videos from Gulf Crisis TV Project (GCTV), Photo: PTTV ism rna th, grc to qu ;) 4. The Collective Camcorder in Art and Activism JESSE DREW • As myth has it, in the midst of the caveman choreography of the Chicago Police Department at the 1968 Democratic convention, the chant arose "the whole world's watching."! This vocal response to the fren­ zied beating of demonstrators has been described as a manifestation of the collective realization of the centrality of television, and of the prophesied global electronic village. The year 1968 was also when Sony Corporation's consumer-level video camera, the self-contained, battery.powered, quarter. inch, reel-to-reel Portapak, became widely available.' The camera was afford­ ably priced and did not require the technical proficiency normally required _ for television production. The concurrence of these two serendipitous devel- i opments resonated with a new generation of artists and activists eager to experiment with the world's most powerful medium. It would be tempting at this point to reiterate the folklore surrounding the nascent video art years and the associated artists: Nam June Paik and the first Portapak, the playful studio experiments of Bruce Nauman, William Wegman and his dog Man Ray, Vito Aceonci and his video repetition of simple gestures. This official history has already been written, however.' The intent of this essay is to poke around this well-esrablished canon, and to provoke another way of looking at the foundations of video art in the United States.
    [Show full text]
  • ROAR: the Paper Tiger Television Guide to Media Activism, 1991, Daniel Marcus, 0963099930, 9780963099938, Collective, 1991
    ROAR: The Paper Tiger Television Guide to Media Activism, 1991, Daniel Marcus, 0963099930, 9780963099938, Collective, 1991 DOWNLOAD http://bit.ly/1z6TT8r http://www.amazon.com/s/?url=search-alias=stripbooks&field-keywords=ROAR%3A+The+Paper+Tiger+Television+Guide+to+Media+Activism DOWNLOAD http://bit.ly/1chSsPU http://bit.ly/1mY5IdN The Spectator, Volumes 27-29 , , 2007, Motion pictures, . Popular Movements in the Context of the Consolidation of Democracy , Ruth Cardoso, 1989, Brazil, 19 pages. Fuse Magazine, Volume 17 , , 1993, Arts, . Videofreex America's First Pirate TV Station and the Catskills Collective that Turned it On, Parry D. Teasdale, 1999, Technology & Engineering, 211 pages. Beyond the Car , Sue Zielinski, Joyce Nelson, 1995, Transportation, 191 pages. In the Absence of the Sacred The Failure of Technology and the Survival of the Indian Nations, Jerry Mander, 1991, Social Science, 446 pages. Focuses on modern society's techno-war against indigenous peoples, arguing that such peoples' philosophy of the sacredness of the natural world offers a way to recover. Public service broadcasting: the challenges of the twenty-first, Issue 111 the challenges of the twenty-first century, Dave Atkinson, Marc Raboy, Unesco, 1997, Business & Economics, 155 pages. Baby with the Bathwater , Christopher Durang, 1984, Drama, 62 pages. One of Broadway's outstanding hits. It is solely and honestly meant to entertain...As purely purposeful diversion it ranks with 'Dracula' and sometimes sets your spine to as. Communication and Latin American Society Trends in Critical Research, 1960-1985, Rita Atwood, Emile G. McAnany, 1986, Language Arts & Disciplines, 220 pages. This enlightening work represents the first comprehensive overview of the major issues in the communication scholarship in Latin America.
    [Show full text]
  • Fifty Years of Participatory Community Media
    WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA National Touring Exhibition ipato Partic ry Co of mm rs u ea ni Y ty 0 M 5 e d 2 i .8 a 2 4 m m 6 7 4 . 5 5 . 6 M 2 2 M 6 8 1 1 1 0 . 2 F We Tell: Fifty Years of Participatory Community Media SCREENING VENUES October 1, 2019 to March 31, 2020 Anthology Film Archives, National Gallery of Art, New York, New York Washington, District of Columbia Appalshop, Whitesburg, Kentucky New Orleans Video Access Center (NOVAC) at Echo Park Film Center, New Orleans Jazz & Heritage, Los Angeles, California New Orleans, Louisiana Finger Lakes Environmental Pacific Film Archives, Film Festival, Ithaca College, Berkeley, California Ithaca, New York Rice Cinema, Indiana University Cinema Rice University, and Indiana University Houston, Texas Libraries Screening Room, Indiana University, Squeaky Wheel Film & Bloomington, Indiana Media Arts Center, Buffalo, New York Lightbox Film Center and Scribe Video Center, University of Chicago, Philadelphia, Pennsylvania Chicago, Illinois Massachusetts Institute University of Colorado, of Technology, Boulder, Colorado Cambridge, Massachusetts ▲ HSA Strike ’75 1975 ipato Partic ry Co of mm rs u ea ni Y ty 0 M 5 e d i 2. a 8 We Tell: Fifty Years of Participatory Community Media, 2 a national traveling exhibition organized by Scribe Video 4 m m 6 7 4 . 5 5 Center, is a thematic collection of short documentaries . 6 M 2 2 M 6 8 1 1 1 0 . produced by community media entities from across the US. 2 F We Tell chronicles the hidden histories of place-based docu- their own analysis of the world.
    [Show full text]