CLARIFYING the CNN EFFECT: an Examination of Media Effects According to Type of Military Intervention By
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The Regime Change Consensus: Iraq in American Politics, 1990-2003
THE REGIME CHANGE CONSENSUS: IRAQ IN AMERICAN POLITICS, 1990-2003 Joseph Stieb A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the College of Arts and Sciences. Chapel Hill 2019 Approved by: Wayne Lee Michael Morgan Benjamin Waterhouse Daniel Bolger Hal Brands ©2019 Joseph David Stieb ALL RIGHTS RESERVED ii ABSTRACT Joseph David Stieb: The Regime Change Consensus: Iraq in American Politics, 1990-2003 (Under the direction of Wayne Lee) This study examines the containment policy that the United States and its allies imposed on Iraq after the 1991 Gulf War and argues for a new understanding of why the United States invaded Iraq in 2003. At the core of this story is a political puzzle: Why did a largely successful policy that mostly stripped Iraq of its unconventional weapons lose support in American politics to the point that the policy itself became less effective? I argue that, within intellectual and policymaking circles, a claim steadily emerged that the only solution to the Iraqi threat was regime change and democratization. While this “regime change consensus” was not part of the original containment policy, a cohort of intellectuals and policymakers assembled political support for the idea that Saddam’s personality and the totalitarian nature of the Baathist regime made Iraq uniquely immune to “management” strategies like containment. The entrenchment of this consensus before 9/11 helps explain why so many politicians, policymakers, and intellectuals rejected containment after 9/11 and embraced regime change and invasion. -
I INFORMING a DISTRACTED AUDIENCE: NEWS NARRATIVES
INFORMING A DISTRACTED AUDIENCE: NEWS NARRATIVES IN BREAKFAST TELEVISION Emma Copeman Submitted in fulfilment of the degree of Bachelor of Arts (MECO), Honours Department of Media and Communications October, 2007 i Abstract This thesis takes its lead from Baym‟s (2004) suggestion that incorporation of entertainment techniques into television news undermines its authority and credibility. To explore this question, textual analysis was conducted on the news bulletins of Australian breakfast television programs Sunrise and Today with regard to narrative features and the spread of traditional news conventions compared to entertainment techniques. This analysis was followed by a discussion of the dominant meanings produced by the news narratives of Sunrise and Today. The two programs employed similar narrative styles that largely adhered to traditional news conventions, positioning themselves as impartial and authoritative relayers of news. However, narratives of both programs also diverged from traditional news: both used entertainment conventions – with Today often abandoning the traditional Inverted Pyramid news story structure for new structures – and contained briefer stories, with references to the opinions and personal experiences of the item presenters. In some breakfast news items, the short and sometimes personal narrative structure diminished the construction of impartiality. While entertainment techniques represented a potential threat to the overall authority of the news, in this analysis, the threat was mitigated by the dominance of traditional news conventions and authority was retained. In summary, departures from traditional news narrative structure and delivery are evident in Australian breakfast television, and may partly decrease its news authority and impartiality. However, the ability of these programs to retain distracted breakfast audiences may depend on the brief, entertaining and sometimes personal nature of the news items. -
The Pulitzer Prizes for International Reporting in the Third Phase of Their Development, 1963-1977
INTRODUCTION THE PULITZER PRIZES FOR INTERNATIONAL REPORTING IN THE THIRD PHASE OF THEIR DEVELOPMENT, 1963-1977 Heinz-Dietrich Fischer The rivalry between the U.S.A. and the U.S.S.R. having shifted, in part, to predomi- nance in the fields of space-travel and satellites in the upcoming space age, thus opening a new dimension in the Cold War,1 there were still existing other controversial issues in policy and journalism. "While the colorful space competition held the forefront of public atten- tion," Hohenberg remarks, "the trained diplomatic correspondents of the major newspa- pers and wire services in the West carried on almost alone the difficult and unpopular East- West negotiations to achieve atomic control and regulation and reduction of armaments. The public seemed to want to ignore the hard fact that rockets capable of boosting people into orbit for prolonged periods could also deliver atomic warheads to any part of the earth. It continued, therefore, to be the task of the responsible press to assign competent and highly trained correspondents to this forbidding subject. They did not have the glamor of TV or the excitement of a space shot to focus public attention on their work. Theirs was the responsibility of obliging editors to publish material that was complicated and not at all easy for an indifferent public to grasp. It had to be done by abandoning the familiar cliches of journalism in favor of the care and the art of the superior historian .. On such an assignment, no correspondent was a 'foreign' correspondent. The term was outdated. -
Annual Report
COUNCIL ON FOREIGN RELATIONS ANNUAL REPORT July 1,1996-June 30,1997 Main Office Washington Office The Harold Pratt House 1779 Massachusetts Avenue, N.W. 58 East 68th Street, New York, NY 10021 Washington, DC 20036 Tel. (212) 434-9400; Fax (212) 861-1789 Tel. (202) 518-3400; Fax (202) 986-2984 Website www. foreignrela tions. org e-mail publicaffairs@email. cfr. org OFFICERS AND DIRECTORS, 1997-98 Officers Directors Charlayne Hunter-Gault Peter G. Peterson Term Expiring 1998 Frank Savage* Chairman of the Board Peggy Dulany Laura D'Andrea Tyson Maurice R. Greenberg Robert F Erburu Leslie H. Gelb Vice Chairman Karen Elliott House ex officio Leslie H. Gelb Joshua Lederberg President Vincent A. Mai Honorary Officers Michael P Peters Garrick Utley and Directors Emeriti Senior Vice President Term Expiring 1999 Douglas Dillon and Chief Operating Officer Carla A. Hills Caryl R Haskins Alton Frye Robert D. Hormats Grayson Kirk Senior Vice President William J. McDonough Charles McC. Mathias, Jr. Paula J. Dobriansky Theodore C. Sorensen James A. Perkins Vice President, Washington Program George Soros David Rockefeller Gary C. Hufbauer Paul A. Volcker Honorary Chairman Vice President, Director of Studies Robert A. Scalapino Term Expiring 2000 David Kellogg Cyrus R. Vance Jessica R Einhorn Vice President, Communications Glenn E. Watts and Corporate Affairs Louis V Gerstner, Jr. Abraham F. Lowenthal Hanna Holborn Gray Vice President and Maurice R. Greenberg Deputy National Director George J. Mitchell Janice L. Murray Warren B. Rudman Vice President and Treasurer Term Expiring 2001 Karen M. Sughrue Lee Cullum Vice President, Programs Mario L. Baeza and Media Projects Thomas R. -
Review Essay Ken Burns and Lynn Novick's the Vietnam
Review Essay Ken Burns and Lynn Novick’s The Vietnam War MARK PHILIP BRADLEY True confessions: I did not go into the eighteen hours of Ken Burns and Lynn Novick’s The Vietnam War with a totally open mind.1 Burns’s 1990 documentary series The Civil War, which made his career, had evoked a storm of controversy, with such leading his- torians as Leon Litwack and Eric Foner offering scathing critiques of how the film depicted African Americans as passive victims and entirely ignored the ways in which the postwar era of Reconstruction became an exercise in white supremacy. As Foner wrote, “Faced with a choice between historical illumination or nostalgia, Burns consis- tently opts for nostalgia.”2 Subsequent documentaries on jazz and World War II always struck me, and in fact many critics, as deliberately skirting potentially subversive counter-narratives in a kind of burnishing of the past.3 And to be quite honest, all of them seemed too long. In the case of Burns and Novick’s earlier series The War (2007) and its fifteen-hour embrace of the greatest generation narrative, Burns’s insular docu- mentary painted World War II as an entirely American affair, with non-white and non- American voices largely to the side. The much-heralded “Ken Burns effect” had never worked its magic on me. When I began to hear the tagline for The Vietnam War in the drumbeat of publicity before it was first aired on PBS last September (you will have to conjure up the melan- choly Peter Coyote voiceover as you read)—“It was begun in good faith by decent peo- ple out of fateful misunderstandings, American overconfidence, and Cold War mis- calculations”—I anticipated a painful eighteen hours. -
The Legacy of American Photojournalism in Ken Burns's
Interfaces Image Texte Language 41 | 2019 Images / Memories The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series Camille Rouquet Electronic version URL: http://journals.openedition.org/interfaces/647 DOI: 10.4000/interfaces.647 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 21 June 2019 Number of pages: 65-83 ISSN: 1164-6225 Electronic reference Camille Rouquet, “The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series”, Interfaces [Online], 41 | 2019, Online since 21 June 2019, connection on 07 January 2021. URL: http://journals.openedition.org/interfaces/647 ; DOI: https://doi.org/10.4000/interfaces.647 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. THE LEGACY OF AMERICAN PHOTOJOURNALISM IN KEN BURNS’S VIETNAM WAR DOCUMENTARY SERIES Camille Rouquet LARCA/Paris Sciences et Lettres In his review of The Vietnam War, the 18-hour-long documentary series directed by Ken Burns and Lynn Novick released in September 2017, New York Times television critic James Poniewozik wrote: “The Vietnam War” is not Mr. Burns’s most innovative film. Since the war was waged in the TV era, the filmmakers rely less exclusively on the trademark “Ken Burns effect” pans over still images. Since Vietnam was the “living-room war,” played out on the nightly news, this documentary doesn’t show us the fighting with new eyes, the way “The War” did with its unearthed archival World War II footage. -
The CNN Effect in Action Palgrave Macmillan Series in International Political Communication Series Editor Philip Seib, Marquette University (USA)
The CNN Effect in Action Palgrave Macmillan Series in International Political Communication Series editor Philip Seib, Marquette University (USA) From democratization to terrorism, economic development to conflict resolution, global political dynamics are affected by the increasing pervasiveness and influence of communication media. This series examines the participants and their tools, their strategies and their impact. It offers a mix of comparative and tightly focused analyses that bridge the various elements of communication and political science included in the field of international studies. Particular emphasis is placed on topics related to the rapidly changing communication environment that is being shaped by new technologies and new political realities. This is the evolving world of international political communication. Editorial Board Members: Hussein Amin, American University in Cairo (Egypt) Robin Brown, University of Leeds (UK) Eytan Gilboa, Bar-Ilan University (Israel) Steven Livingston, George Washington University (USA) Robin Mansell, London School of Economics and Political Science (UK) Holli Semetko, Emory University (USA) Ingrid Volkmer, University of Otago (New Zealand) Books Appearing in this Series Media and the Politics of Failure: Great Powers, Communication Strategies, and Military Defeats By Laura Roselle The CNN Effect in Action: How the News Media Pushed the West toward War in Kosovo By Babak Bahador The CNN Effect in Action How the News Media Pushed the West toward War in Kosovo Babak Bahador THE CNN EFFECT IN ACTION © Babak Bahador, PhD, 2007. Softcover reprint of the hardcover 1st edition 2007 978-1-4039-7519-5 All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. -
Fall2011.Pdf
Grove Press Atlantic Monthly Press Black Cat The Mysterious Press Granta Fall 201 1 NOW AVAILABLE Complete and updated coverage by The New York Times about WikiLeaks and their controversial release of diplomatic cables and war logs OPEN SECRETS WikiLeaks, War, and American Diplomacy The New York Times Introduction by Bill Keller • Essential, unparalleled coverage A New York Times Best Seller from the expert writers at The New York Times on the hundreds he controversial antisecrecy organization WikiLeaks, led by Julian of thousands of confidential Assange, made headlines around the world when it released hundreds of documents revealed by WikiLeaks thousands of classified U.S. government documents in 2010. Allowed • Open Secrets also contains a T fascinating selection of original advance access, The New York Times sorted, searched, and analyzed these secret cables and war logs archives, placed them in context, and played a crucial role in breaking the WikiLeaks story. • online promotion at Open Secrets, originally published as an e-book, is the essential collection www.nytimes.com/opensecrets of the Times’s expert reporting and analysis, as well as the definitive chronicle of the documents’ release and the controversy that ensued. An introduction by Times executive editor, Bill Keller, details the paper’s cloak-and-dagger “We may look back at the war logs as relationship with a difficult source. Extended profiles of Assange and Bradley a herald of the end of America’s Manning, the Army private suspected of being his source, offer keen insight engagement in Afghanistan, just as into the main players. Collected news stories offer a broad and deep view into the Pentagon Papers are now a Iraq, Afghanistan, Pakistan, and the messy challenges facing American power milestone in our slo-mo exit from in Europe, Russia, Asia, the Middle East, and Africa. -
Syrian Crisis Representation in the Media: the CNN Effect, Framing, and Tone
The University of Mississippi Undergraduate Research Journal Volume 3 Article 1 5-1-2019 Syrian Crisis Representation in The ediM a: The CNN Effect, Framing, and Tone Savannah S. Day University of Mississippi, [email protected] Follow this and additional works at: https://egrove.olemiss.edu/umurjournal Part of the Communications Law Commons, Communication Technology and New Media Commons, Comparative and Foreign Law Commons, Comparative Politics Commons, History of Religions of Eastern Origins Commons, International and Intercultural Communication Commons, International Relations Commons, Journalism Studies Commons, Legal Ethics and Professional Responsibility Commons, Mass Communication Commons, Models and Methods Commons, Near and Middle Eastern Studies Commons, Social Influence and Political Communication Commons, Television Commons, and the Terrorism Studies Commons Recommended Citation Day, Savannah S. (2019) "Syrian Crisis Representation in The eM dia: The NNC Effect, Framing, and Tone," The University of Mississippi Undergraduate Research Journal: Vol. 3 , Article 1. Available at: https://egrove.olemiss.edu/umurjournal/vol3/iss1/1 This Article is brought to you for free and open access by eGrove. It has been accepted for inclusion in The nivU ersity of Mississippi Undergraduate Research Journal by an authorized editor of eGrove. For more information, please contact [email protected]. University of Mississippi Undergraduate Resarch Journal Humanities Introduction ing relationship between media coverage and refugee crises will impact policy for In March of 2011, the Arab Spring centuries to come. began. As part of this large uprising to dethrone oppressive leaders across the Middle East, and in efforts to take down A General Reflection of The Syrian the authoritarian government of President Crisis in The Media Bashar al-Assad, Syrian rebels went to war against their own state. -
Why We Watch Television 2 Foreword
Why we watch television 2 Foreword Television is facing Sony has a long tradition of But now, in the era of connected unprecedented leading and supporting the television and online video industry through transformation available on demand, it’s disruptive change. and technology innovation. possible to focus on the needs of the individual viewer. This report provides a personal Companies are placing big view to help inform the way we We’re all individuals, with different bets on new forms of video think about television and video. backgrounds, identities and distribution, without necessarily perspectives. understanding why people might It aims to address the apparently want to watch. simple question of why we watch We all have our own reasons for television. watching television and they vary There’s a popular perception that according to the viewing context. the traditional model of television It considers what we mean by is broken, but it’s far from clear television, what television means By studying the fundamental how it will be replaced. to us and how that might evolve. psychology and sociology of our behaviours as human beings, we To understand this transformation Television has typically provided can better understand why we of television, we really need to mass audiences with shared watch television, and how we appreciate the nature of the experiences. And it will continue may view in the future. medium, the needs it addresses to do so. and the ways it’s used. Dr William Cooper Media Consultant informitv Why we watch television 3 Contents Introduction 4 Television features 7 Television research 17 Television viewing 23 Television evolution 33 Conclusions 39 Why we watch television 4 Introduction What do we mean by The idea of television includes: These are now becoming television? absorbed into a wider domain of • The screen on which it’s video media, which can deliver generally seen many of the features we have traditionally associated with The very concept of what • The medium of broadcast, television. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
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