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Peace Journalism is a set of distinctions in the representation of conflicts. Put forward originally by Johan Galtung, the Peace Journalism model has acted as an organizing principle for initiatives in pedagogy and training, movement activism for media reform, and scholarly research. Exponents have often operated concurrently in more than one of these activity streams, and the field has generally been imbued with an awareness of the need for theory to address issues relevant to professional practice and experience. Taken together, the activities in all three of these streams show a global pattern of distribution and have been called the worldwide “peace journalism movement.”
This movement puts forward remedial measures to the dominance of certain patterns of conflict reporting, characterized as War Journalism. This should not be confused with the everyday term “war reporting,” meaning, simply, to report on wars. Instead, War Journalism describes forms of reporting that make further violence seem logical, sensible, even inevitable.
Galtung first put forward his model as a table showing distinctions under four main headings. Whereas War Journalism was violence-oriented, elite-oriented, propaganda-oriented, and victory-oriented, peace journalism could be identified as peace and conflict-oriented, people-oriented, truth-oriented, and solution-oriented.
Peace Journalism research has concentrated mainly on three issues. The first—constituting the largest proportion of published work—has been to find out how much Peace Journalism is underway in samples of conflict reporting from (usually) print media. Such research proceeds by operationalizing the distinctions in the model to derive relevant criteria for content analysis. In a second strand, scholars have applied the model to new and different kinds of conflict, such as political or cultural conflicts, or extended its geographical reach by using it to consider reporting by media of different countries and discussed its relevance in each case. A third strand has investigated differentials in responses by audiences when exposed to examples of conflict reporting coded as War Journalism and Peace Journalism.
Bryant Keith Alexander
The nature of human social engagement could be described as operating along four basic principles: (1) notions of naming and recognizing features of particularity and difference; (2) establishing relational rituals and activities that build organizational systems in and as communities; (3) instantiating hierarchies of power that regulate the vagaries of daily living; and (4) enacting methods of communication that seek to promote ideas and mediate social understanding. Thus, the construction of “performance of race, culture, and whiteness” articulates and integrates these four overlapping notions that animate and map onto aspects of human social engagement that might also be reframed as enquiry, enactment, and enculturation. A range of diverse definitions of each of the terms exists and their features coalesce and co-inform each other. The social actors in the dramas of everyday performances do not always self-select the roles they play. But they can shape the performances they engage in and promote productive culture and relational engagements toward social justice.
Performance studies presumes that political economy, cultural continuity, self-fashioning, and interpersonal exchange are embodied, aesthetic, affective, creative, contested, and rhetorical processes whose work can be understood through analyses of their presentational and representational particulars. Scholars in the field investigate storytelling, ritual, dance, music, and theater: live and mediated, professional and amateur. But they also deploy “performance” as a heuristic tool for examining practices of everyday life, history, the economy and the law, material culture, and other cultural forms not typically considered performance with the goal of excavating their aesthetic, theatrical, spectacular, audience-directed qualities, then explaining how these qualities do cultural and political work. Thus, in performance studies, performance is both an object and a method of study: a mode of communication and a strategy for framing and examining cultural artifacts and processes. Performance practice is a primary commitment in performance studies; it is a site to be investigated, a mode of scholarly inquiry, and a tool of scholarly representation. Within the field of communication, it is most closely aligned with rhetoric and critical cultural studies. But its many interdisciplinary incarnations include those that privilege modes of communication other than the linguistic, including dance studies and ethnomusicology.
The field of performance studies is highly interdisciplinary, with its roots in the practices of elocution, the oral interpretation of literature, and theater, as well as anthropology and folklore studies. The fundamentally contested nature of performance as a concept requires researchers to clarify the parameters and presumptions about performance in their analyses, including who or what performs, and in what sense. The field’s investment in the body as a site of knowledge and cultural production is evidenced in its primary methodologies, including performance ethnography, performance historiography, and oral history. This investment in the body also emerges in the field’s use of performed and written autoethnography and in experiments with performative writing.
Nancy Grant Harrington
The study of persuasive health messages—their design, dissemination, and impact—is ubiquitous in the communication discipline. Words, sounds, and images—alone or in combination—can move people to change their minds and their bodies. Micro-level topics surround questions of message content (argumentation scheme, evidence, qualifying language, and figurative language), structure (message sidedness, standpoint articulation, inoculation, and sequential strategies), and format (channel and audiovisual effects). Macro-level topics in this area include message sensation value, narrative, framing, emotional appeals, and tailoring. Central theoretical frameworks used to guide message design research, include health behavior change theories, information processing theories, and theories/frameworks for message design. In addition, some of the methodoligical issues inherent in message design research are questions of analysis, validity, and measurement. Four streams of past scholarship that inform persuasive health message design research: Greek rhetoric, mass communication research begun during World War II, the development of health communication as a research focus within the communication discipline, and the development of computer and telecommunications technology. Directions and challenges for future research include the need for a clear, coherent, and comprehensive taxonomy to classify message characteristics and attention to several methodological issues.
Photography has been a practical reality for about 190 years, and, from its beginnings, journalism seemed like a natural application of the medium since most people believed that the photograph was an objective representation of reality. During the years since the first surviving photograph was produced in a camera, the evolution of photojournalism has been driven by a combination of technology, public demand, and a passion for the profession by its practitioners. In the first decades after that initial photograph, improvements in lenses, negatives, and prints made photographic reportage of the Crimean War (1853–1856) and the American Civil War (1861–1865) possible. The British and American populaces created immense markets for war images, and entrepreneurial photographers such as Roger Fenton and Mathew Brady provided them.
Technological advances in cameras, lenses, film, lighting, photographic reproduction methods, and an ability to transmit photographs worldwide continued to advance the boundaries of photojournalism throughout the 19th and 20th centuries. The topics of that work were mostly motivated by public demand. Wars, politics, photographs of “exotic” cultures from around the world, sports, everyday features, and celebrity portraits provided popular themes and continue to do so into the present, but photojournalists have also pursued subjects that they deemed important to humankind though not necessarily popular. Many have produced social, political, environmental, and cultural documentaries that challenge the status quo. Some have challenged this work as being outside the bounds of “objectivity,” but the usefulness of this argument has been rejected by many in the profession. Legendary photojournalist W. Eugene Smith, for example, stated succinctly, “there is nothing objective about journalism.”
The final decade of the 20th century brought the evolution of the digital camera. Today’s photojournalism is almost exclusively a digital endeavor. The transformation of photography from analog to digital has revolutionized photojournalism in terms of workflow, mobility, transmission of images, ethics, image availability, and the question of “who is a photojournalist?” Finally, the gradual mutation of the term “photojournalism” to “visual journalism” denotes a transformation of the medium itself from the still image to a combination of still and moving images or perhaps exclusively moving images in the future. This, in turn, may fundamentally change the ways in which photojournalistic stories are told and experienced.
Kory Floyd, Corey A. Pavlich, and Dana R. Dinsmore
Research has shown that the expression of affection and other forms of prosocial communication between two or more people promotes wellness and has the potential to increase life expectancy. The human body contains multiple physiological subsystems that all contribute to the overall health and well-being of an individual; the simple act of engaging in prosocial communication has been shown to positively influence one’s health and well-being. The specific benefits of engaging in prosocial communication are not limited to one specific physiological subsystem; it is the pervasiveness of this benefit that is so important. The benefits of prosocial communication range from building the body’s defense systems to increasing the effectiveness of recovery; in essence, prosocial communication increases the body’s overall integrity and rejuvenating power. These benefits have been observed for a variety of prosocial behaviors, including the expression of affection, touch, social support and cohesion, and social influence. The health benefits of prosocial communication point to the importance of considering prosocial communication when designing health and risk messages.
Bill D. Herman
The volume of information on the Internet is incomprehensible and growing exponentially. With such a vast ocean of information available, search engines have become an indispensible tool for virtually all users. Yet much of what is available online is potentially objectionable, controversial, or harmful. This leaves search engines in a potentially precarious position, simultaneously wanting to maximize the usefulness of results for end users while also minimizing political, regulatory, civil, and even criminal difficulties in the jurisdictions where they operate. Conversely, the substantial logistical and legal obstacles to regulating Internet content also leave policymakers in an unenviable position, and content that the public or policymakers may well want regulated—even that which is patently illegal—can remain virtually impossible to stamp out.
The policies that may affect online search are incredibly varied, including contract law, laws that affect expression and media producers more generally, copyright, fraud, privacy, and antitrust. For the most part, the law that applies was developed in and will still apply to offline contexts as well. Internet search is still an area filled with its own vexing policy questions. In many cases, these are questions of secondary liability—addressing whether the search provider is liable for search results that link to websites that are beyond their control. In other areas, though, the behavior of search providers will endure specific scrutiny. While many of these questions could be or actually are asked in countries around the world, this article focuses primarily on the legal regimes in the United States and the European Union.
Hilde Van den Bulck
In Europe and elsewhere broadcasting is considered by some a “thing of the past,” and broadcasting policy subsequently as hard to develop or even no longer relevant. Broadcasting has indeed seen a considerable number of changes since its inception in the 20th century and this has created policy challenges brought on by the evolving market for audio-visual content, policymakers, and various stakeholders. In its early and “golden” years, broadcasting policies where incited by a social responsibility in thinking about the relationship between the media and the state, resulting mostly in public service broadcasting monopolies. In the 1980s these monopolies were replaced by a liberalization of broadcasting policies and markets which led to a multichannel, commercializing television landscape.
Digitization and ensuing and ongoing convergence have further changed the media landscape in recent decades, questioning old boundaries between once distinct media types and markets and opening up traditional media markets to new players. As a result, the traditional process of production and distribution, the valorization of this work in the different phases hereof (the so-called value chain), and the accompanying distribution of costs and revenues (the business model) have been and are being subjected to considerable changes. For instance, “free-to-air,” that is, traditional linear broadcasting, has stopped being the only channel of distribution as “video-on-demand” (VoD), pay television, “over-the-top content”-services (OTT), and other platforms and services bring products to new and different markets, allowing for a diversification across several valorization “windows.”
Broadcasting has evolved into an audiovisual industry which poses new challenges to media policymakers as the ex ante testing for new public services and signal integrity cases illustrate. Broadcasting thus is not so much dying as constantly transforming, posing ever new changes to policymakers.
Philip M. Napoli and Sarah Stonbely
The role of government policy in journalism can vary substantially across nations; as in 21st century the primary policy issues surrounding journalism have evolved as technological changes have dramatically configured—and in some cases threatened—the position of traditional journalistic institutions and given rise to new journalistic forms and organizations.
In nations such as the United States, where the commercial model of journalism production has long predominated, we have seen a pronounced expansion in recent years beyond a policy focus on how to maintain sufficient competition and diversity among the organizations that produce journalism (i.e., ownership regulation) to also include consideration of possible policy approaches to preserving and protecting traditional journalism organizations in the face of a much more challenging economic environment. Thus, policymakers have considered options such as legislation allowing commercial newspapers to convert to nonprofit status, as well as engaging in more rigorous governmental assessment of the functioning of local journalism ecosystems and the ways in which news consumers’ critical information needs are being met. In this latter case, the question of what, if any, policy responses may emerge from such investigations has remained unclear and a source of significant controversy.
In nations with a stronger tradition of non-commercial, publicly supported journalism (the focus here is primarily on western Europe), key 21st-century policy issues have included media freedom and pluralism, with particular emphases and mechanisms for protecting journalists and for ensuring ownership transparency and diversity. There have also been comprehensive reassessments of the structure and functioning of public service media in order to ensure that these institutions are effectively evolving in response to the changing media environment in ways that maximize their ability to serve media users’ information needs.
Issues of journalism ethics and performance have found their way into the policy agenda as well. This has most notably been the case in the United Kingdom, where revelations of illegal mobile phone hacking by British tabloid journalists led to a formal government inquiry (the Leveson Inquiry) and recommendations for the creation of a new, independent governance structure with significant sanctioning and dispute arbitration authority.
An important concern that is only now beginning to emerge (particularly in Europe), one that may ultimately take form as a dominant journalism policy issue, involves the question of the increasingly influential role that digital intermediaries (social media platforms, search engines, mobile applications) play in the process via which journalism reaches news consumers. Here, the emerging concern is whether some more formal and authoritative governance structures are necessary to ensure that these intermediaries have positive rather than negative effects on the flow of news and information within communities.
Zazil Reyes García
Political cartoons are rhetorical artifacts where journalism and popular culture intersect. Through the use of images and words, facts and fiction, political cartoons provide their readers with a point of view: a single frame loaded with vivid images and condensed meaning. Political cartoons perform several political and social functions; the main one is to provide political commentary on current events and social issues. Additionally, cartoonists often see their work as a weapon against the abuses of power. Thus, they seek to expose and ridicule the powerful. The result is not always funny, but it is often surprising.
Political cartoons are valuable objects of study for many disciplines, such as art history, journalism, and sociology. Studying political cartoons can give us information about past and present political processes and social imagery; it can also serve to understand how visual elements are used to communicate; but most importantly, it provides insight into the cultural values, beliefs, and attitudes of the societies that produce them.
Political cartoons are a form of communication with extraordinary rhetorical power. In order to construct meaning, and in hopes of persuading their audience, cartoonists use different rhetorical strategies, such as the use of metaphors and widely known cultural references. Like other rhetorical artifacts, political cartoons are not a straightforward form of communication. To understand one cartoon, people require multiple literacies, and often different people have different readings. Although the influence of political cartoons has diminished in some parts of the Western world, they continue to do political work around the world.
Becky R. Ford
The term political correctness (PC) has been used since the 1930s in Maoist China, where it meant fall in line with the Communist Party’s politics. In the 1980s, there was a revival of the use of the term. For some, PC now primes the prohibition of speech that is seen as derogatory toward historically marginalized groups, and well as the encouragement of more multicultural perspectives. Others see PC in a pejorative sense, thinking of liberal extremism. Since the start of the liberal PC movement in the 1980s, people ranging from sensationalist conservative politicians to serious and thoughtful academics have raised concerns about the negative consequences of PC. Those in support of PC claim that using more inclusive language representing more diverse voices in college classrooms helps improve the lives of members of marginalized groups. On the other hand, many professors and university health professionals have raised concerns that PC culture is too extreme, and the norms are preventing students from developing critical thinking skills. Despite the fact that the debate has being going on for nearly 30 years, little has been resolved.
Though many have written their opinions of PC, few have theorized about why it exists or how it functions. Furthermore, although empirical research has peripherally examined the effects of some PC-related issues, very little empirical research has explicitly tested the effects of PC. In order to encourage further theorizing and empirical research about this topic, a short history of the PC movement is presented, a background on social norms and ideology helps provide useful insight for understanding PC, and the small amount of empirical research that explicitly examines PC, such as research on language and the pressure to appear PC, is presented to help with ideas for future research.
Political economy approaches examine the power relations that comprise the production, distribution, and exchange of resources. They are distinguished from economics by a deeper concern for history, the social totality, moral philosophy, and praxis. Numerous schools of thought mark the political economy approach including early conservative, communitarian, and Marxian perspectives. Today, neoconservative, institutional, neo-Marxian, feminist, environmental, and social movement based approaches offer a wide variety of political economies. Communication scholars have drawn on political economy approaches to carry out research on media technologies, including broadcasting, telecommunications, and computer communication. In doing so they have developed distinctive geographic perspectives covering North America, Europe, and the less developed world.
Political economy approaches are built on specific philosophical assumptions including a range of epistemologies that, on one end of a continuum, accept the reality of both concepts and observations and, at the other, claim that all explanations can be reduced to one essential cause, such as the economy or culture. Political economy approaches also range from perspectives that emphasize social change, social processes, and social relations to those that focus on social structures and institutions.
Political economy approaches tend to concentrate on three processes that make up the main starting points for political economy research on media technologies. Commodification is the process of transforming things valued for their use into marketable products that are valued for what they can bring in exchange. This can be seen, for example, in the process of turning a story that friends tell one another into a film or a book to be sold in the marketplace. Spatialization is the process of overcoming the constraints of geographical space with media and technologies. For example, social media surmounts distance by bringing images of world events to every part of the globe and companies use media technologies, now often comprised of cloud computing, big data analytics, the Internet of Things, and telecommunications networks, to build global supply chains. Finally, structuration is the process of creating social relations, mainly those organized around social class, gender, and race. With respect to social class, political economy approaches describe how access to the mass media and new communication technologies is influenced by inequalities in income and wealth, which enable some to afford access and others to be left out. Political economy approaches are evolving in response to challenges from cultural studies approaches. Political economies of media technologies are now placing greater emphasis on international communication, on communication history, on standpoints of resistance, on new media technologies, and on new media activism.
Dal Yong Jin
Political economy of the media includes several domains including journalism, broadcasting, advertising, and information and communication technology. A political economy approach analyzes the power relationships between politics, mediation, and economics. First, there is a need to identify the intellectual history of the field, focusing on the establishment and growth of the political economy of media as an academic field. Second is the discussion of the epistemology of the field by emphasizing several major characteristics that differentiate it from other approaches within media and communication research. Third, there needs an understanding of the regulations affecting information and communication technologies (ICTs) and/or the digital media-driven communication environment, especially charting the beginnings of political economy studies of media within the culture industry. In particular, what are the ways political economists develop and use political economy in digital media and the new media milieu driven by platform technologies in the three new areas of digital platforms, big data, and digital labor. These areas are crucial for analysis not only because they are intricately connected, but also because they have become massive, major parts of modern capitalism.
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Communication. Please check back later for the full article.
The term “political entertainment” refers to a broad category of literature, media, and performance art in which politics and entertainment are comingled. Because of its varied and complex nature, there is no singular definition for political entertainment. However, to be considered as such, the content should have a primary or secondary political focus and generally include implicit or explicit references to socio-political issues. Within political entertainment expository, rhetorical and narrative structures are used to offer socio-political information, commentary, or critique. The content ranges from historical accounts to contemporary issues and often includes some type of moral imperative, civics lesson, policy preference, or desired outcome. Sometimes the purpose is simply to entertain, while other times the purpose is to engage, inform, or persuade mass audiences. Moreover, political entertainment is multi-functional, offering audiences a variety of ways to consume hedonic and eudaimonic political content.
In recent decades, there has been a marked increase in political entertainment such as documentaries, fictional dramas, historical reenactment films, political music, animated series, and online videos. These forms range from short films, one-time events, and single audio tracks to feature length films, serial productions, and full television series. On a global scale, political podcasting has become increasingly infused with entertainment. Sometimes referred to as alternative or emergent media, political satirists and public opinion leaders use online formats to offer entertaining political commentary and social critique outside the bounds of traditional media systems. Additionally, made-for-cable, online, and on-demand outlets such as original HBO and Netflix series are quickly gaining ground as alternative political entertainment formats. The mixing of entertainment and news has also created a popular form of political entertainment known as soft news, infotainment, or news hybrids. These take the form of morning and daytime talk shows, online and cable news programs, radio, television, and podcast opinion shows, etc. With the increase in partisan political news and the proliferation of subscription-based outlets, it has become increasingly difficult to separate traditional news and opinion from news hybrids and related forms of political entertainment.
The roots of political entertainment can be traced back to ancient Egypt, Greece, and Rome, wherein satire (the earliest known form) was found in literature, graphic, and performing arts. Satire, as the forbearer of political entertainment, was traditionally studied from a humanist tradition and remains an important aspect of literary studies. Contemporary political entertainment research has broadened to include multiple disciplinary perspectives, mediated formats, cross-cultural orientations, and international viewpoints. Modern political entertainment literature traverses the humanities and social sciences, offering critical, qualitative, and quantitative assessments of the nature, content, and impact these media have on different democratic societies.
Jesper Strömbäck and Adam Shehata
Political journalism constitutes one of the most prominent domains of journalism, and is essential for the functioning of democracy. Ideally, political journalism should function as an information provider, watchdog, and forum for political discussions, thereby helping citizens understand political matters and help prevent abuses of power. The extent to which it does is, however, debated. Apart from normative ideals, political journalism is shaped by factors at several levels of analysis, including the system level, the media organizational level, and the individual level. Not least important for political journalism is the close, interdependent, and contentious relationship with political actors, shaping both the processes and the content of political journalism.
In terms of content, four key concepts in research on political journalism in Western democratic systems are the framing of politics as a strategic game, interpretive versus straight news, conflict framing and media negativity, and political or partisan bias. A review of research related to these four concepts suggests that political journalism has a strong tendency to frame politics as a strategic game rather than as issues, particularly during election campaigns; that interpretive journalism has become more common; that political journalism has a penchant for conflict framing and media negativity; and that there is only limited evidence that political journalism is influenced by political or partisan bias. Significantly more important than political or partisan bias are different structural and situational biases. In all these and other respects, there are important differences across countries and media systems, which follows from the notion that political journalism is always influenced by the media systems in which it is produced and consumed.
Lindsay H. Hoffman
Political knowledge is a concept of central importance in political communication research, yet exactly how it should be operationalized has been a long-running conversation among scholars. The study of political knowledge is rooted in democratic theory, which suggests that citizens should be informed if they are to participate in a democratic society. Political knowledge is also referred to as political sophistication or political expertise. Generally, political knowledge is defined as holding correct information, but the type of information can vary dramatically from study to study—from civic knowledge to issue knowledge to candidate information to the structural relationships among cognitions.
Because political knowledge is so often seen as a bedrock of a democratic society, scholars often examine what cultural, economic, and political antecedents play a role in increasing or decreasing political knowledge. However, knowledge can also be examined as a predictor of behaviors such as voting, a moderator in the study of framing effects, or a mediator between communication and political behavior. But the problem that plagues political knowledge research, just as it has plagued scholars of general knowledge for centuries, is how to measure it. Like general knowledge, which is often measured in exams or through IQ tests, political knowledge isn’t directly measurable. Political knowledge, then, cannot be fully captured in a series of test questions. The challenge facing scholars interested in this important variable is one of measurement and interpretation, which means that there are many ways to measure political knowledge.
Afonso de Albuquerque
Political parallelism refers to a pattern or relationship where the structure of the political parties is somewhat reflected by the media organizations. A concept introduced by Seymour-Ure and Blumler and Gurevitch in the 1970s, political parallelism became widespread after Hallin and Mancini made it one of the four basic analytical categories of their masterpiece Comparing Media Systems, three decades later. Since then, political parallelism has been often taken as a category with a potentially universal applicability. There are some reasons for cautiousness in this respect, however, as the premise that the political parties are the core organizers of the dynamics of politics makes sense in circumstances existing in Western Europe, especially from the 1950s until very recently, but not at every moment or even everywhere. Otherwise, it is possible to think about political parallelism as one specific pattern of media/politics relations among several others either already existing or possible. The fact that this model in particular receives so much attention does not result necessarily from its intrinsic value, but it may be related to asymmetries existing in the international landscape of the academic research in journalism and political communication, which privileges Western-based standpoints over others. Arguably, taking political parallelism from a broader outlook, considering both Western and non-Western views may provide a richer perspective about it.
João R. Caetano and Alexandra F. Martins
Politics is a field of interaction between a multiplicity of actors—both individual and collective—with different interests operating in the so-called public space and trying to influence the outcomes of the state’s (or groups of states’) action, typically public policies. In politics, people do not defend their interests alone but within groups and in relation to other groups, which presupposes a communication strategy and tactics. The diversity of political and social groups has not ceased to grow in recent decades throughout the world, particularly in democratic systems, with implications for the way politics and democracy are depicted by the media, as well as the way the make-up of public policies is analyzed. This important issue gets at the essence of politics and of society, in relation to communication processes, and is subject to new interdisciplinary approaches and developments in social science, particularly in political communication (the study of the connections between politics and citizens and the interactions connecting groups).
Political and social groups are groups composed of two or more people who interact and maintain relations of interdependence in order to obtain power, stay in power, or influence policy makers, in their own interest. Every day, people see the action of political and social groups when they watch television, listen to the radio, access the Internet, or simply talk with other people, in different situations. In fact, an isolated person would not need politics. Only the necessity of regulating relations between people in society explains the creation of politics and the action of political and social groups through the use of communication tools.
Political and social groups can be categorized in different ways, according to their structure, functions, and types of activity. According to a structural perspective, political and social groups can be classified as political institutions, political and social (nonstate or public) organizations, and social movements. One can distinguish between permanent and nonpermanent groups, depending on their expected or usual time of duration, and based on function there are: public and private groups, interest aggregation groups, and interest articulation groups. Lastly, according to their activities, there are institutional and noninstitutional groups, taking into account their role in political decision-making processes.
During the early 21st century, the use of technology has revolutionized the way people conceive of politics. Networks brought with them new social demands and forms of public scrutiny. As a result political and social groups have been experimenting with new ways of doing politics as they break with the past. These new facts require social scientists—facing a new and demanding scientific challenge—to rethink the politics of today in relation to society. Communication is important because it relates to many of these political dynamics.
This article discusses the various ways in which political concerns among government officials, scientists, journalists, and the public influence the production, communication, and reception of scientific knowledge. In so doing, the article covers a wide variety of topics, mainly with a focus on the U.S. context. The article begins by defining key terms under discussion and explaining why science is so susceptible to political influence. The article then proceeds to discuss: the government’s current and historical role as a funder, manager, and consumer of scientific knowledge; how the personal interests and ideologies of scientists can influence their research; the susceptibility of scientific communication to politicization and the concomitant political impact on audiences; the role of the public’s political values, identities, and interests in their understanding of science; and, finally, the role of the public, mainly through interest groups and think tanks, in shaping the production and public discussion of scientific knowledge. While the article’s primary goal is to provide an empirical description of these influences, a secondary, normative, goal is to clarify when political values and interests are or are not appropriate influences on the creation and dissemination of scientific knowledge in a democratic context.
M. Madhava Prasad
At the core of what we know as popular culture studies today is the work of scholars associated with or influenced by the Birmingham Centre for Contemporary Cultural Studies. Popular culture itself and intellectual interest in its risks and possibilities, however, long predate this moment. Earlier in the 20th century, members of the Frankfurt School took an active interest in what was then referred to as “mass culture” or the culture industry. Semiotics, emerging in the latter half of the 20th century as an exciting new methodology of cultural analysis, turned to popular culture for many of its objects as it redefined textuality, reading, and meaning. The works of Roland Barthes and Umberto Eco are exemplary in this regard. The work of the Birmingham school, also known as British cultural studies, drew from both of these intellectual traditions but went on to forge its own unique methods drawing on Marxist and poststructuralist theoretical legacies. Quickly spreading across the Anglophone world, Cultural Studies is now widely recognized, if not as a discipline proper, as a distinctive branch of the humanities. Other methodologies contemporaneous with this trend are also now clubbed together as part of this generalized practice of cultural studies. Important among these are feminist approaches to popular culture exemplified by work on Hollywood cinema and women’s melodrama in particular, the study of images and representations through a mass communications approach, and ethnographic studies of readers of popular romances and television audiences. A minor, theoretically weak tradition of popular culture studies initiated by Ray Browne parallelly in the Unites States may also be mentioned. More recently, Slavoj Zizek has introduced startlingly new ways of drawing popular cultural texts into philosophical debates. If all of these can be taken together as constituting what is generally referred to as popular culture studies today, it is still limited to the 20th century. Apart from the Frankfurt School and semiotics, British cultural studies also counts among the precursors it had to settle scores with, the tradition of cultural criticism in Britain that Matthew Arnold and in his wake F. R. Leavis undertook as they sought to insulate “the best of what was thought and said” from the debasing influence of the commercial press and mass culture in general. But the history of popular culture as an object of investigation and social concern goes further back still to the 18th and 19th centuries, the period of the rise and spread of mass literature, boosted by the rise of a working-class readership.