“Losing Thomas & Ella” presents a research comic about one father’s perinatal loss of twins. The comic recounts Paul’s experience of the hospital and the babies’ deaths, and it details the complex grieving process afterward, including themes of anger, distance, relationship stress, self-blame, religious challenges, and resignation. A methodological appendix explains the process of constructing the comic and provides a rationale for the use of comics-based research for illness, death, and grief among practitioners, policy makers, and the bereaved.

In Habits of the Heart and The Good Society, Bellah et al. diagnose our loss of public life in areas such as education and relate this loss both to flaws in moral ecology and to our institutions. Their opposition to the Lockean metaphysic of self and community and to objectivist epistemology as a way of understanding schools is helpful in that it naturally suggests the kind of piecemeal, contextualized change that we locate within Dewey's viewpoint. But, I argue, Bellah et (...) al.'s penchant for “first philosophy” ultimately taints their work. While I applaud their turn to Dewey, I find their choice of a “metaphysical”, rather than a Rortyan reading of Dewey misguided. The proper alternative to a Lockean metaphysics is not a communitarian/Aristotelian one; the proper corrective to objectivist epistemology is not “Deweyan epistemology” or “critical theory”. We need to see, as in Rorty, that democracy exists prior to normative philosophy just as it has priority over substantive religion. To think otherwise would lead to a loss of contact with the ordinary, specific, ever-changing realms where our lives, and our democratic institutions — including the university — must either thrive or flounder. Finally, there is no epistemology or metaphysics that will adequately “ground” the university's workings. Instead, there is only, as Dewey put it, growth or failure to grow, guided by hints and resonances that arise in evolving circumstances. (shrink)

An a l y s e s of more than 300 textbooksfound that the development of lessons on ethics in news reporting and writing textbooks clearly mirrored the development of scholarship in media ethics. Substantial discussion of ethics did not appear in textbooks until the 1920s and 1930s, and after a 40-year absence, returned in the 1970s, 1980s, and 1990s. However, the author argues, the potentialforfurther advancement of ethics lessons among news reporting and writing textbooks remains n question mark. Text (...) discussions of ethics are still not prominent, and important moral and intellectual questions in journalism are overlooked. (shrink)

My interpretive analysis2 of news reporting and writing textbooks shows that journalism education already had embraced objectivity as a central tenet long before separate schools and departments of journalism were established in American universities and long before journalism professors would start publishing journalism textbooks.

Herodotos and Thoukydides report on many occasions that kings, polis leaders, and other politicians speak and behave in ways that unintentionally announce or analyze situations incorrectly (misinformation). Elsewhere, they represent as facts knowingly false constructs or “fake news” (disinformation), or they slant data in ways that advance a cause personal or public (propaganda, true or false). Historians attempt to or claim to acquaint audiences with a truer fact situation and to identify subjects’ motives for distortion such as immediate personal advantage, (...) community advantage, or to encourage posterity’s better (if mistaken) opinion. Such historiographical bifocalism enhances the historian’s authority with readers (as he sees through intentional or unintentional misrepresentations) as well as sets straight distorted historical records. This paper surveys two paradigmatic Hellenic historians’ texts, how they build their investigative and analytic authority, and how they encourage confidence in their truth-determining skills. The material collected confirms and assesses the frequency of persons and governments misleading their own citizens and subjects as well as rival persons and powers. Finally, it demonstrates that these two historians were aware of information loss, information control (dissemination and suppression), and information chaos. (shrink)

This panel study assessed changes in ethical ideology and beliefs about the societal function of media over the course of undergraduate communication education in Singapore. First, students' agreement with the ethical principles of truth telling, independence, and accountability increased. Second, change in agreement with the ethical principle of minimizing harm was negatively related to change in justification of contentious newsgathering methods. Third, belief that the media should function as a watchdog increased and that it should serve national development decreased. Change (...) in these variables was inversely correlated. We relate these findings to global contexts and make recommendations for curriculum development. (shrink)

This dissertation critically engages the meaning and scope of the category of the ‘essay film’; a term that has gained increasing currency in recent decades in film studies and contemporary art to group a diverse array of moving-image works. Departing from recent literature on the essay film, the essay, as I argue, should be conceived less as a stable generic category, than as a dynamic form and experimental mode of writing and filmmaking, which employs and cuts across diverse literary, cinematic (...) and televisual genres and sub-genres, and which is historically subject to critical transformation as it encounters new social, technological and cultural forms and mediums. The introduction provides a critical survey of some of the leading proponents of the essay film, and outlines a working definition of the essay as a literary and cinematographic form. Chapter 1 examines the history of the essay and criticism as a literary and philosophical form, focusing on the essayistic and critical writings of Michel de Montaigne, the early German Romantics, Walter Benjamin, Theodor W. Adorno and Roland Barthes. Central to the critical and experimental nature of the essay, as the chapter underlines, is the deployment of various indirect, allegorical, and modernist rhetorical and poetic strategies and devices – such as citation, irony, fragmentation, and parataxis – which attempt to engage the reader in the text’s reflective process through the constellation of enigmatic and disjunct moments and perspectives. Chapter 2 explores the emergence of various essayistic forms in the Soviet avant-garde in the 1920s, relating debates around the privileging of literary and photographic documentary montage practices in Soviet Factography to Esfir Shub’s historical compilation films, Dziga Vertov’s experimental newsreels, and Sergei Eisenstein’s project to make a plotless film-essay based on Karl Marx’s Capital. Chapter 3 focuses on Jean-Luc Godard’s film and video essays – from Camera Eye to Histoire du cinéma – delineating the crucial shifts in Godard’s various attempts to present a critical discourse on cinema and the media through the montage of image and sound. Chapter 4 investigates the essay films, archival video essays, and essayistic video installations of Harun Farocki, attending to how his works endeavour to render the ciphered social life of images and the historical transformations in technologies and techniques of seeing and imaging available for critical interpretation. Central to my account of the essay as a literary, cinematographic, and videographic form is the question of compilation; namely, how knowledge and history is archived and assembled through the juxtaposition and critical weighing of disparate citations and images. Paramount in relation to Godard and Farocki, as I underscore, is their respective shifts to working with video technology, which afforded both filmmakers the capacity to more freely combine and analyze images from divergent media sources, as well as to devise novel forms of videographic montage based on the construction of historical correspondences between audio-visual elements. I conclude the dissertation with a consideration of the impact of digital technology on contemporary essayistic audio-visual practices, and how issues raised in the preceding chapters – around audio-visual criticism, the spatialization of montage in moving-image installation work, and documentary and archival film practices – have been affected by such technological and cultural shifts. (shrink)

This article sets out the idea of affective networks as a constitutive feature of communicative capitalism. It explores the circulation of intensities in contemporary information and communication networks, arguing that this circulation should be theorized in terms of the psychoanalytic notion of the drive. The article includes critical engagements with theorists such as Guy Debord, Jacques Lacan, Tiziana Terranova, and Slavoj Zizek.