We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure [email protected]
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
This chapter argues that television history has been neglected by jazz scholars. It describes a historical relationship between the music and the broadcast medium, noting particular trends such as musicians in variety and other performance settings, reenactments of key moments in jazz history, narratives of jazz in episodic drama and comedic treatments of jazz. While there is a growing literature on variety/performance programming, the chapter notes the ongoing absence of scholarship on dramatic and comedic treatments. Drawing on methodologies from television studies, case studies are presented which demonstrate rich engagements between jazz and television. The chapter ends by suggesting that we should turn away from considering exceptional moments in jazz television history and towards its presence in the everyday consumption of television.
Over the last eighty years there has been a global rise in 'peace communication' practice, the use of interpersonal and mass communication interventions to mediate between peoples engaged in political conflict. In this study, Yael Warshel assesses Israeli and Palestinian versions of Sesame Street, which targeted negative inter-group attitudes and stereotypes. Merging communication, peace and conflict studies, social psychology, anthropology, political science, education, Middle Eastern and childhood studies, this book provides a template to think about how audiences receive, interpret, use and are influenced by peace communication. By picking apart the text and subtext of the kind of media these specific audiences of children consume, Warshel examines how they interpret peace communication interventions, are socialized into Palestinians, Jewish Israelis and Arab/Palestinian Israelis, the political opinions they express and the violence they reproduce. She questions whether peace communication practices have any relevant structural impact on their audiences, critiques such interventions and offers recommendations for improving future communication interventions into political conflict worldwide.
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.