Rolf Werenskjold – författare

In what ways have social movements attracted the attention of the mass media since the sixties? How have activists influenced public attention via visual symbols, images, and protest performances in that period? And how do mass media cover and frame specific protest issues? Drawing on contributions from media scholars, historians, and sociologists, this volume explores the dynamic interplay between social movements, activists, and mass media from the 1960s to the present. It introduces the most relevant theoretical approaches to such issues and offers a variety of case studies ranging from print media, film, and television to Internet and social media.

In what ways have social movements attracted the attention of the mass media since the sixties? How have activists influenced public attention via visual symbols, images, and protest performances in that period? And how do mass media cover and frame specific protest issues? Drawing on contributions from media scholars, historians, and sociologists, this volume explores the dynamic interplay between social movements, activists, and mass media from the 1960s to the present. It introduces the most relevant theoretical approaches to such issues and offers a variety of case studies ranging from print media, film, and television to Internet and social media.

The Cold War was a media phenomenon. It was a daily cultural political struggle for the hearts and minds of ordinary people—and for government leaders, a struggle to undermine their enemies’ ability to control the domestic public sphere. This collection examines how this struggle played out on screen, radio, and in print from the late 1970s through the early 1990s, a time when breaking news stories such as Ronald Reagan’s “Star Wars” program and Mikhail Gorbachev’s policy of glasnost captured the world’s attention. Ranging from the United States to the Soviet Union and China, these essays cover photojournalism on both sides of the Iron Curtain, Polish punk, Norwegian film, Soviet magazines, and more, concluding with a contribution from Stuart Franklin, one of the creators of the iconic “Tank Man” image during the Tiananmen Square protests. By investigating an array of media actors and networks, as well as narrative and visual frames on a local and transnational level, this volume laysthe groundwork for writing media into the history of the late Cold War.