Luke McKernan - Böcker

Whether tainted by suppression or hailed as a liberator of truth, the news is integral to our daily life. From the earliest news reporting over 500 years ago to today's 24-hour coverage of events in print and online, on television and on social media, the scope of news has altered drastically. Fast-evolving technologies and attitudes have shaped not only how we make news, but how we consume it.But what makes an event 'news'? Are we justified in our scepticism about shocking images and inflammatory headlines? Or is the news a vital tool, enabling worldwide activism movements such as #BlackLivesMatter and enforcing necessary scrutiny of the ethics of those in power?Breaking the News asks timely questions about how reporting in Britain has written the narrative for pivotal moments in history. Among them are a grisly seventeenth-century murder, COVID-19 public information campaigns, the NSA leak by Edward Snowden and the news media's treatment of celebrities. Feature biographies also highlight influential news breakers through history, including writer and abolitionist Olaudah Equiano, photojournalist Mohamed Amin and environmental rights activist Greta Thunberg.

Charles Urban was a renowned figure in his time, and he has remained a name in film history chiefly for his development of Kinemacolor, the world’s first successful natural colour moving picture system. He was also a pioneer in the filming of war, science, travel, actuality and news, a fervent advocate of the value of film as an educative force, and a controversial but important innovator of film propaganda in wartime.The book uses Urban’s story as a means of showing how the non-fiction film developed in the period 1897-1925, and the dilemmas that it faced within a cinema culture in which the entertainment fiction film was dominant. Urban’s solutions – some successful, some less so – illustrate the groundwork that led to the development of documentary film. The book considers the roles of film as informer, educator and generator of propaganda, and the social and aesthetic function of colour in the years when cinema was still working out what it was capable of and how best to reach audiences.Luke McKernan also curates a web resource on Charles Urban at www.charlesurban.com

Charles Urban was a renowned figure in his time, and he has remained a name in film history chiefly for his development of Kinemacolor, the world’s first successful natural colour moving picture system. He was also a pioneer in the filming of war, science, travel, actuality and news, a fervent advocate of the value of film as an educative force, and a controversial but important innovator of film propaganda in wartime.The book uses Urban’s story as a means of showing how the non-fiction film developed in the period 1897-1925, and the dilemmas that it faced within a cinema culture in which the entertainment fiction film was dominant. Urban’s solutions – some successful, some less so – illustrate the groundwork that led to the development of documentary film. The book considers the roles of film as informer, educator and generator of propaganda, and the social and aesthetic function of colour in the years when cinema was still working out what it was capable of and how best to reach audiences.Luke McKernan also curates a web resource on Charles Urban at www.charlesurban.com

This book is a carefully selected, thematically arranged collection of eyewitness accounts of seeing motion pictures – from the 1890s to the present day, and from countries across the globe. Included are essays, diaries, memoirs, travel accounts, oral history interviews, poems and extracts from novels. These verbatim accounts – from both professional and amateur writers – have been selected not only for what they tell us about the historical experience of cinema in many countries, but also for their literary value. Here is evocative testimony that shows how deeply cinema touches emotional needs, and the huge impact that the cinema has had on modern society.While most film history studies are centred on films or those who produce them, Picturegoers puts the voices of the audience first. It analyses and celebrates the audience’s point of view, shaped by time, experience and place, providing a rich, entertaining portrait of a medium that became so transformative precisely because anyone, rich or poor, educated or not, could share in it.The book will appeal to scholars interested in the relationship between cinema and society, those engaged in audience studies, and general readers interested in world cinema history.