Jane L. Chapman

This book aims to extend existing historical, literary and media knowledge of neglected written voices as a form of print participation in the Second World War. Uniquely, it is framed by an awareness of contemporary requirements for both secrecy and deception, which, it is argued, were nevertheless characterised by a rare participatory inclusivity in terms of writers and audiences - that has hitherto only been perceived as a characteristic of 'citizen's journalism' in the internet age. Comparative cases of resistance using newspapers during the Second World War comprise original and clandestine sources from France, Belgium, the Netherlands, Norway, and Britain - analysed for the effect that intelligence and planned deception had on local publications as well as on readers of resistance broadsheets.

This book aims to extend existing historical, literary and media knowledge of neglected written voices as a form of print participation in the Second World War. Uniquely, it is framed by an awareness of contemporary requirements for both secrecy and deception, which, it is argued, were nevertheless characterised by a rare participatory inclusivity in terms of writers and audiences - that has hitherto only been perceived as a characteristic of ‘citizen’s journalism’ in the internet age. Comparative cases of resistance using newspapers during the Second World War comprise original and clandestine sources from France, Belgium, the Netherlands, Norway, and Britain - analysed for the effect that intelligence and planned deception had on local publications as well as on readers of resistance broadsheets.

This book represents the first systematic attempt to analyse media and public communications published in Britain by people of African and Afro-Caribbean origin during the aftermaths of war, presenting an in-depth study of print publications for the period 1919-1924. This was a period of post-conflict readjustment that experienced a transnational surge in special interest newspapers and periodicals, including visual discourse. This study provides evidence that the aftermath of war needs to be given more attention as a distinctly defined period of post-conflict adjustment in which individual voices should be highlighted. As such it forms part of a continuing imperative to re-discover and recuperate black history, adding to the body of research on the aftermaths of The First World War, black studies, and the origins of diaspora.Jane L. Chapman analyses how the newspapers of black communities act as a record of conflict memory, andspecifically how physical and political oppression was understood by members of the African Caribbean community. Pioneering black activist journalism demonstrates opinions on either empowerment or disempowerment, visibility, self-esteem, and economic struggles for survival.

This book is the first attempt to analyse records of people of Afro-Caribbean origin who appealed against repatriation during the painful period after Britain’s 1919 race riots. Revealing personal letters and petitions from the West Indies, West Africa, and the UK, Jane Chapman demonstrates that conflict adjustment involving individual voices needs to be highlighted. She asks, what was the human environment, the dilemmas and the racist compulsions making transnational experiences in the British Empire so poignant? Analysing both the opinions of civil servants on appellants’ statements of hardship and requests for financial help, and the voices of the appellants themselves, this book aims to rediscover black people’s hidden heritage.

This book is the first attempt to analyse records of people of Afro-Caribbean origin who appealed against repatriation during the painful period after Britain’s 1919 race riots. Revealing personal letters and petitions from the West Indies, West Africa, and the UK, Jane Chapman demonstrates that conflict adjustment involving individual voices needs to be highlighted. She asks, what was the human environment, the dilemmas and the racist compulsions making transnational experiences in the British Empire so poignant? Analysing both the opinions of civil servants on appellants’ statements of hardship and requests for financial help, and the voices of the appellants themselves, this book aims to rediscover black people’s hidden heritage.

This transnational, interdisciplinary study argues for the use of comics as a primary source. In recuperating currently unknown or neglected strips the authors demonstrate that these examples, produced during the World Wars, act as an important cultural record, providing, amongst other information, a barometer for contemporary popular thinking.

Comics, the Holocaust and Hiroshima breaks new ground for history by exploring the relationship between comics as a cultural record, historiography, memory and trauma studies. Comics have a dual role as sources: for gauging awareness of the Holocaust and through close analysis, as testimonies and narratives of childhood emotions and experiences.

The gendered nature of the relationship between the press and emergence of cultural citizenship from the 1860s to the 1930s is explored through original data and insightful comparisons between India, Britain and France in this integrated approach to women's representation in newspapers, their role as news sources and their professional activity.

Journalism Today: A Themed History provides a cultural approach to journalism's history through the exploration of overarching concepts, as opposed to a typical chronological overview. Rich with illuminating stories and biographies of key figures, it sheds new light on the relationship between the press and society and how each has shaped the other. Thematic study of the history of journalism, examining the role of journalism in democracy, the influence of new technology, the challenge of balancing ethical values, and the role of the audienceCharts the influence of the historical press for today’s news in print, broadcast, and new mediaSituates journalism in a rich cultural context with lively examples and case studies that bring the subject alive for contemporary readersProvides a comparative analysis of American, British, and international journalismHelpful feature boxes on important figures and case studies enhance student understanding of the development of journalism and news as we know it today, providing a convenient springboard for follow-up work.

Journalism Today: A Themed History provides a cultural approach to journalism's history through the exploration of overarching concepts, as opposed to a typical chronological overview. Rich with illuminating stories and biographies of key figures, it sheds new light on the relationship between the press and society and how each has shaped the other. Thematic study of the history of journalism, examining the role of journalism in democracy, the influence of new technology, the challenge of balancing ethical values, and the role of the audienceCharts the influence of the historical press for today’s news in print, broadcast, and new mediaSituates journalism in a rich cultural context with lively examples and case studies that bring the subject alive for contemporary readersProvides a comparative analysis of American, British, and international journalismHelpful feature boxes on important figures and case studies enhance student understanding of the development of journalism and news as we know it today, providing a convenient springboard for follow-up work.

Documentary is fast changing: with the digital revolution and the enormous increase in Internet usage, the range of information and outlets for distribution continues to become more diverse. In this context, are the traditional themes and frequently irreconcilable critical positions of study still valid – or are they changing, and if so, how? In short, what are the issues for documentary studies now? The starting point of Issues in Contemporary Documentary is that although documentary history cannot be ignored, the genre needs to be understood as complex, multi-faceted, and influenced by a range of different contexts. Jane Chapman brings to life the challenges of contemporary documentary in an accessible way by balancing theoretical discussion with use of cutting edge material from Europe and North America and the developing world. Whilst the need for critical appraisal of documentary is greater than ever before, Chapman believes that future discourses are likely to be shared between academics and specialist online communities as viewers become makers, and both categories may also become activists. Maintaining all parties can benefit from an awareness of continuity and change, she predicts that activist documentary will increasingly become a category to follow in the future. Each chapter contains recent international case studies, and the content evolves thematically with definitions, representation, objectivity, subjectivity, censorship, authorial voice, reflexivity, and ethics as headings. This free standing, innovative study can also be used in conjunction with Documentary in Practice (Polity 2007) by the same author. The two books provide an essential 2 volume introduction for all students and scholars of film and media, plus those practitioners seeking insight into their craft.

Documentary is fast changing: with the digital revolution and the enormous increase in Internet usage, the range of information and outlets for distribution continues to become more diverse. In this context, are the traditional themes and frequently irreconcilable critical positions of study still valid ? or are they changing, and if so, how? In short, what are the issues for documentary studies now? The starting point of Issues in Contemporary Documentary is that although documentary history cannot be ignored, the genre needs to be understood as complex, multi-faceted, and influenced by a range of different contexts. Jane Chapman brings to life the challenges of contemporary documentary in an accessible way by balancing theoretical discussion with use of cutting edge material from Europe and North America and the developing world. Whilst the need for critical appraisal of documentary is greater than ever before, Chapman believes that future discourses are likely to be shared between academics and specialist online communities as viewers become makers, and both categories may also become activists. Maintaining all parties can benefit from an awareness of continuity and change, she predicts that activist documentary will increasingly become a category to follow in the future. Each chapter contains recent international case studies, and the content evolves thematically with definitions, representation, objectivity, subjectivity, censorship, authorial voice, reflexivity, and ethics as headings. This free standing, innovative study can also be used in conjunction with Documentary in Practice (Polity 2007) by the same author. The two books provide an essential 2 volume introduction for all students and scholars of film and media, plus those practitioners seeking insight into their craft.

Documentary in Practice provides a unique approach to practical documentary-making. Through fascinating analysis of real-life production situations, Jane Chapman shows the challenges and issues faced during the filmmaking process by a range of both well-known and up-and-coming documentary-makers. She also brings her own personal experience as a seasoned documentary producer and teacher to advise on how students can gain invaluable insight from these projects. Throughout this compelling text, a variety of producers past and present provide their inside project stories and production records, including scripts, fundraising proposals, budgets, diagrams, post-production records and reviews. Across continents, every project and its makers are different whether they are famous names from the canon', television freelances, art-house directors, documentary-maker activists or first-time filmmakers but they all face a range of challenges: how to connect visual approach to content idea morality of camera presence complaints and ethical challenges legal issues and censorship budgetary factors influencing choices conflict with commissioning editors All students of media studies as well as aspiring documentary-makers will find this book a refreshing introduction to the choices available for filmmaking and the issues that may emerge during the process.

Documentary in Practice provides a unique approach to practical documentary-making. Through fascinating analysis of real-life production situations, Jane Chapman shows the challenges and issues faced during the filmmaking process by a range of both well-known and up-and-coming documentary-makers. She also brings her own personal experience as a seasoned documentary producer and teacher to advise on how students can gain invaluable insight from these projects. Throughout this compelling text, a variety of producers past and present provide their inside project stories and production records, including scripts, fundraising proposals, budgets, diagrams, post-production records and reviews. Across continents, every project and its makers are different whether they are famous names from the canon', television freelances, art-house directors, documentary-maker activists or first-time filmmakers but they all face a range of challenges: how to connect visual approach to content idea morality of camera presence complaints and ethical challenges legal issues and censorship budgetary factors influencing choices conflict with commissioning editors All students of media studies as well as aspiring documentary-makers will find this book a refreshing introduction to the choices available for filmmaking and the issues that may emerge during the process.

Comparative Media History is a unique thematic textbook which introduces students to the key ideas underpinning media development. It is an essential first step to a better understanding of both the media industry today and the way in which it evolved over time. The textbook compares developments and influences from a broad perspective, highlighting and contrasting different countries, industries and periods of history in order to encourage an understanding of cause and effect. In a style which is clear, accessible and provocative, Jane Chapman argues that most of the roots of today's media - even the globalizing impulse - lie in the late 18th and 19th centuries. The book emphasises continuity and certain decisive factors such as the social use of technology, the character of the institutions in which it is applied and the political approach of the specific countries involved. The comparative element to this book, both across countries and industries, will enable students to reflect on key issues in media studies, including those of diversity, form, method and choice, both past and present. It will become an essential text for any student of the media and its history. For more information about the book and the author, please see www.janechapman.co.uk

Comparative Media History is a unique thematic textbook which introduces students to the key ideas underpinning media development. It is an essential first step to a better understanding of both the media industry today and the way in which it evolved over time. The textbook compares developments and influences from a broad perspective, highlighting and contrasting different countries, industries and periods of history in order to encourage an understanding of cause and effect. In a style which is clear, accessible and provocative, Jane Chapman argues that most of the roots of today's media - even the globalizing impulse - lie in the late 18th and 19th centuries. The book emphasises continuity and certain decisive factors such as the social use of technology, the character of the institutions in which it is applied and the political approach of the specific countries involved. The comparative element to this book, both across countries and industries, will enable students to reflect on key issues in media studies, including those of diversity, form, method and choice, both past and present. It will become an essential text for any student of the media and its history. For more information about the book and the author, please see www.janechapman.co.uk