This is a unique history of what in the 1980s was the world’s largest association in the media field. However, the IOJ was embroiled in the Cold War: the bulk of 300,000 members were in the socialist East and developing South. Hence the collapse of the Soviet-led communist order in central-eastern Europe in 1989–91 precipitated the IOJ’s demise. The author – a Finnish journalism educator and media scholar – served as President of the IOJ during its heyday. In addition to a chronological account of the organization, the book includes testimonies by actors inside and outside the IOJ and comprehensive appendices containing unpublished documents.

Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.

Anniversary issue of The Democratic Journalist, monthly journal of the International Organization of Journalists, including a year-to-year chronology of events

Vols. for 1853- include the transactions of the Royal Photographic Society of Great Britain.

In just over a century, Latvia has transitioned from imperial periphery to nation-state, then Soviet republic, and finally following the collapse of the Soviet Union to an independent republic. Defining Latvia brings together the latest research on the multiple social, political, and cultural contexts of Latvia throughout this turbulent period. Its ten chapters are written by leading political scientists, historians, and area studies specialists from across Europe and North America. The volume moves beyond an exclusively political context to incorporate a variety of social and cultural perspectives, ranging from the experiences of Latvian mapmakers in the Russian Empire, to the participation of Latvians in the Wehrmacht and Red Army during World War II, Latvian national communism, and the development of extremist politics following Latvia’s accession to the European Union. Other chapters address developing trends in the fields of history and political science, including the history of antisemitism, memory, language politics, photography, and political extremism. Based on the book’s temporal span from the nineteenth century to the present, the authors and editors of Defining Latvia understand the construction of Latvian identity as a continuous and interconnected process across significant political and ideological ruptures.