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Matt Cole

6  The press In an era when newspapers were the chief source of political information, the support of the press at national and local levels was often a significant factor in winning elections. Editorial support for the Liberal Party amongst major news titles went into decline after 1945, and was effectively non-existent by 1962. However, Richard Wainwright was keenly aware of the importance of communication, and particularly of press support: he had contributed to the student press at Shrewsbury and Cambridge, and had briefed the nationals as part of his duties

in Richard Wainwright, the Liberals and Liberal Democrats
The Chicago press and Irish journalists, 1875–1900
Gillian O’Brien

9 Patriotism, professionalism and the press: the Chicago press and Irish journalists, 1875–1900 1 Gillian O’Brien In the late nineteenth century Irish immigrants in the United States found no shortage of newspapers catering to their interests. For Irish journalists concerned with all things Irish there were plenty of opportunities for employment in cities – such as Philadelphia, Boston, New York and, later, Chicago and San Francisco – that boasted large Irish populations. But there were also Irish journalists who wrote for newspapers that were not defined by an

in Irish journalism before independence
Philip M. Taylor

Chapter 16 The Press as an Agent of Liberty Like an ascending curve on a graph, the eighteenth century witnessed both an expansion in the role of public opinion in affairs of state and an increase in the degree to which the Press was accordingly utilized as a political instrument. Many governments were quick to recognize this and, drawing upon early modern precedents, established rigorous censorship systems to regulate the flow of ideas. In England, the emergence of parliamentary liberty and religious toleration following the ‘Glorious Revolution’ of 1688

in Munitions of the Mind
Aaron Ackerley

The notion of ‘freedom’ has been central to how much of the British press has presented itself from the nineteenth century until the present day. This has included freedom from government control and interference, and, as a linked concern, the safeguarding of ‘free speech’. However, the manner in which these ideas and terms have been defined and utilised has shifted as the media industry and broader cultural debates and trends have changed. This chapter will provide a brief overview of how the British press has used the concepts of freedom and free speech to

in The free speech wars
the Scrapbooks of Dorothy Richardson (1748–1819)
ZoË Kinsley

This article offers a survey of the recently discovered scrapbooks collated over a number of decades by the Yorkshirewoman Dorothy Richardson (1748–1819). The large set of thirty-five volumes presents an important collection of press cuttings relating to the history and consequences of the French Revolution, and also contains ‘historical and miscellaneous’ material of a more eclectic nature. I argue that the texts significantly improve our understanding of Dorothy Richardson’s position as a reader, writer and researcher working in the North of England at the turn of the nineteenth century. Furthermore, her set of albums raises important questions about the relationship between commonplacing and scrapbooking practices, and the capacity of such textual curatorship to function as a form of both political engagement and autobiographical expression.

Bulletin of the John Rylands Library
Heather Norris Nicholson

. This chapter examines the role and character of amateur cinema’s hobby press between the later 1920s and 1977. Attention focuses on two key British publications: ACW (1934–67), and the first ten years’ publication of its successor, Movie Maker (MM) (1967–85). 2 Because of limitations of space, short-lived specialist off shoots including Amateur Movie Maker (1957–64), Cine-camera (1960–64) and 8mm Movie Maker

in Amateur film
David Como

Chapter 5 The origins of the concept of freedom of the press David Como T his chapter investigates the origins of concepts of press freedom in the anglophone world. It might seem surprising that there is anything left to contribute on a topic of such obvious significance and scope. That there remains much to be said may be ascribed, in large part, to the inescapable association of the subject with the Whig-Liberal historical approach. What could be more unapologetically Whiggish than a search for the origins of a bedrock principle of modern liberal democracy

in Freedom of speech, 1500–1850
Mark O’Brien

40 3 Free State –​free press? It is not the ordinary function of journalists to act as censors of public morals. That is the duty of the clergy and Vigilance Committees of which we heard so much a few years ago, but of which we hear so little now. But neither are journalists under any obligation to canonise filth. Yet, this they frequently do by lauding objectionable entertainments.1 — ‘Self-​Respect’ on journalists and entertainment, 1915 As the momentum for Independence grew in the early 1900s, the mainstream press found itself caught between a new system

in The Fourth Estate
Julie Thorpe

2 Creating a fascist press at home and abroad In the ‘Newspaper Reader’s Prayer’, the German left-wing journalist, Kurt Tucholsky (1890–1935), satirized his generation’s insatiable appetite for news, gossip and rumour.1 The reader’s hysteria at not being able to cram all the world’s news into one breakfast sitting may have struck Tucholsky in 1927 as the social and moral disorder of Weimar Germany, but Austrian politicians reached a similar diagnosis of mass hysteria among newspaper readers in Austria’s First Republic. This chapter shows the responses of

in Pan-Germanism and the Austrofascist state, 1933–38
Rebecca Binns

Throughout the late 1960s and early 1970s, Vaucher lived communally at Dial House, working with Rimbaud and various others on a number of collaborative art projects and becoming involved in the free festivals movement. It was also during this period that she undertook her first work as a commercial illustrator. She and Rimbaud created book covers and illustrations for children's books, for the publisher White Lion Press. Rimbaud recalls, ‘The guy who ran it was a friend of my brother's and my brother suggested to him that Gee might be

in Gee Vaucher