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Work Newspaper – Natalie Bradbury In 2011, in a bid to redress an imbalance in regional reporting, the BBC moved thousands of its staff from London to Salford Quays. A purpose-built complex, three miles from Manchester city centre, created a new area known as MediaCity. Sports and children’s programming moved wholesale, and the famous Blue Peter Garden was recreated on the banks of the Manchester Ship Canal. Hundreds of acres of former dockland were rebuilt with not just broadcast facilities and studios, but also apartments, restaurants and bars to serve the new
Today’s world is dominated by bulletins constantly streaming across the internet. Newspapers, the source of everyman’s information for the better part of three hundred years, do not carry the same influence they did even sixty years ago. The first intruder was television, supplemented by cable networks in the 1980s. The mid- to late 1990s then brought the
12 Newspapers, journals and the Irish revival Regina Uí Chollatáin The role of minority language media in a society where the minority is recognised as a national language for all – but is scarcely acknowledged in the general public forum – is unique in Europe and is central to understanding the evolution of the role of Irish language journalism in Ireland. As Romaine points out, Ireland is ‘the only European Union member state (apart from Belgium, which is officially trilingual in French, Dutch and German), where the percentage of the population claiming the
The Black Panther newspaper and revolutionary aesthetics Colette Gaiter The Black Panther Party (BPP) and the Maoist Chinese artists who created posters and visual images in the 1960s and 1970s spread political ideology through empathetic, simple and bold images of everyday people. Viewers of these images could actually see themselves as revolutionaries by identifying with their protagonists. Emory Douglas, the Minister of Culture, designer, illustrator and ‘revolutionary artist’ for the BPP, was ‘the Norman Rockwell of the ghetto’,1 portraying poor and working
11 Newspapers, journalists and the early years of the Gaelic Athletic Association Paul Rouse Much has been written about the mutually-beneficial relationship which developed between newspapers and sport in the Victorian era in Britain. In general, this was an easy courtship and the construction of the Victorian sporting world was carried out amidst a whirl of free publicity. There were obvious mutual benefits of a sporting world full of heroic men (and the very occasional heroic women) performing almost mythical feats which were spun by the press and sold to
4 Sinn Féin and the life and death of the republican newspaper A community will evolve only when a people control their own communication. Frantz Fanon1 Irish republican newspapers and their roots The tradition of republican newspapers that stretches back to the United Irishmen remains active, despite the rapid spread of the Internet and mobile phones that has impacted on the mainstream media markets. An Phoblacht remains the highest-profile paper in the republican sphere, continuing an almost unbroken run of publication stretching back more than thirty years
The newly digitised Manchester Observer (1818–22) was England’s leading radical newspaper at the time of the Peterloo meeting of August 1819, in which it played a central role. For a time it enjoyed the highest circulation of any provincial newspaper, holding a position comparable to that of the Chartist Northern Star twenty years later and pioneering dual publication in Manchester and London. Its columns provide insights into Manchester’s notoriously secretive local government and policing and into the labour and radical movements of its turbulent times. Rich materials in the Home Office papers in the National Archives reveal much about the relationship between radicals in London and in the provinces, and show how local magistrates conspired with government to hound the radical press in the north as prosecutions in London ran into trouble. This article also sheds new light on the founding of the Manchester Guardian, which endured as the Observer’s successor more by avoiding its disasters than by following its example. Despite the imprisonment of four of its main editors and proprietors the Manchester Observer battled on for five years before sinking in calmer water for lack of news.
This paper considers the impact of extra-filmic elements on the cultural decision-making behaviours of a small rural Australian cinema audience, focusing on the rural New South Wales village of Cobargo in the late 1920s. In considering how why such fragile rural picture show operations either failed or became successful, it is critical to take account of rural geographies, particularly in terms of early road development, and the nature and state of road bridges in flood-prone areas. The paper argues that these elements are part of a broad ecosystemic framework for cultural decision-making which can assist in our interpretation of early newspaper advertising and promotion for picture show programs.
In 1895, the world of modern physics was effectively ushered in with the discovery of X-rays by the German physicist, Wilhelm Conrad Röntgen. X-rays rapidly changed the ways in which the human body was perceived, and their discovery was documented and fiercely debated in scientific articles, newspaper reports, literary writings, cartoons and films. This article examines a range of these responses, both scientific and popular, and considers the particular significance of their repeated recourse to the Gothic and the uncanny as a means of expressing both excitement and disquiet at what the new X-ray phenomenon might mean.
This article explores the transmedial seriality of Winsor McCay‘s newspaper comic strip Dream of the Rarebit Fiend (1904–24), tracking the narratives evolution from comic to trick film (Edwin S. Porter‘s The Dream of a Rarebit Fiend, 1906) and animation (McCays own Bug Vaudeville, 1921). In contrast to large parts of the critical response to McCay‘s work, this article does not fore ground the subversive and disruptive dimension of the Rarebit narratives. Instead, it reads both the graphic and filmic narratives as integral parts of the larger serialised culture of modernity, and as attempts to chart this reality, in order to make it navigable.