Representations of first contact—the first meetings of European explorers and Native Americans—have always had a central place in our nation’s historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths—and how those myths acquired different meanings at different points in our nation’s history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth-century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies—paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell—Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. Yet others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.

Representations of first contact—the first meetings of European explorers and Native Americans—have always had a central place in our nation’s historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths—and how those myths acquired different meanings at different points in our nation’s history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth-century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies—paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell—Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. Yet others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.

News Framing Effects is a guide to framing effects theory, one of the most prominent theories in media and communication science. Rooted in both psychology and sociology, framing effects theory describes the ability of news media to influence people’s attitudes and behaviors by subtle changes to how they report on an issue. The book gives expert commentary on this complex theoretical notion alongside practical instruction on how to apply it to research. The book’s structure mirrors the steps a scholar might take to design a framing study. The first chapter establishes a working definition of news framing effects theory. The following chapters focus on how to identify the independent variable (i.e., the "news frame") and the dependent variable (i.e., the "framing effect"). The book then considers the potential limits or enhancements of the proposed effects (i.e., the "moderators") and how framing effects might emerge (i.e., the "mediators"). Finally, it asks how strong these effects are likely to be. The final chapter considers news framing research in the light of a rapidly and fundamentally changing news and information market, in which technologies, platforms, and changing consumption patterns are forcing assumptions at the core of framing effects theory to be re-evaluated.

Sacred Shock attempts to lay bare the inner workings of Byzantine art by looking closely at the marginal or subsidiary areas in works of art.

Ten years ago, amateur photographer and school bus driver Cynthia Stewart dropped off eleven rolls of film at a drugstore near her home in Ohio. The rolls contained photographs of her eight-year-old daughter Nora, including two of the child in the shower - photos that would cause the county prosecutor to arrest Cynthia, take her away in handcuffs, threaten to remove her daughter from her home, and charge her with crimes that carried the possibility of sixteen years in prison. The disturbing case would ultimately attract national attention - including stories in USA Today and on NPR - and supporters including the famed photographer Sally Mann, Katha Pollitt, and the ACLU. Framing Innocence brilliantly probes the many questions raised; when does a photograph of a naked child ''cross the line'' from innocent snapshot to child porn? What makes a photograph dangerous - the situation in which it is shot or the uses to which it might be put? When does the parent, and when does the state, know best? Written by poet Lynn Powell, a neighbor of Cynthia Stewart's, this riveting and beautifully told story plumbs the perfect storm of events and people that threatened an ordinary family in a small American town. Framing Innocence features a determined prosecutor; a fundamentalist Christian anti-porn crusader who is appointed as Cynthia's daughter's guardian; the local attorneys for whom the case would become a crucible; and the many neighbors - friends and strangers, Republican and Democrat - who come together to fight for sanity and for justice for Cynthia and her family.

The relationship between the fine art and the business sphere has never been harmonious; it has been rejected, fought about, ignored, exploited, criticised and questioned, but it is still omnipresent. Commonly assumed to be antagonistic, situating art and the business organisation sphere in the discourses of new knowledge creation and learning, however, holds the potential of exploring new ways of relating the two spheres. This book investigates such potentialities, discussing the limits and challenges of these new forms of relating. It does so by first outlining the changing discourses of the art and business spheres, and how they produce different ways of relating to their respective worlds. Second, it brings into conversation an ethnographic study of an art-business-collaboration organised by two artists with a Deleuzian concept of dialogue. Dialogue, here, is understood as a non-hierarchical encounter developing between two spheres; a source of creation no longer belonging to anyone. In what is here termed “a machinic research framework” – accounting for composition and movement on all scales – the book shows how making connections is a discursive and material practice with expectations and imaginaries playing a central role. It also addresses the paradoxical interplays between losing control and maintaining control in collaborative attempts, between reaching out for the Other and carrying out identity work, and between positions in the centre and in the margins of the highly stratified and codified areas of business organisations and fine art. Eventually, this book examines small dialogical instances that escape the stratifying forces dividing the two worlds, thereby creating a temporary space. It closes with a reflection on the role of research in thinking (and making) new ways of relating the world of fine art and the business organisation sphere.