9 11 The War On Terror And The Sociology Of Mass Media

9/11, the War on Terror, and the Sociology of Mass Media explores the cultural and political impact of the terrorist attacks on September 11, 2001, with particular emphasis on the media's role in constructing meanings in the wake of the tragedy. The carefully selected readings within this anthology tell the story of how 9/11 was "created"--that is, how the story of the event was told, and how it was not told. In providing students with a comprehensive overview of the various narratives constructed in the aftermath of a defining moment in U.S. history, the book sheds light on how government and media can shape stories, and how those stories contribute to our social reality. The book begins with a selection of articles and chapters that offer students a thorough explanation of the attacks themselves, as well as the effects they had on politics and other official publics. The readings in Part 2 of the text explore society's reaction to 9/11 and the wars it produced, with emphasis on the response of popular culture. Part 3 provides an understanding of the social and historical reasons as to why the attacks happened, both from the perspective of U.S. foreign policy and the terrorists who enacted the attack. The anthology closes with a section that takes a look at the lasting effects of the attacks, exploring cultural impact and the changing landscape of terrorist threats. By encouraging students to rationally explore and ask questions about an event that many feel they've been unable to examine critically before, 9/11, the War on Terror, and the Sociology of Mass Media allows them to exercise their citizenship, nationally and globally. This anthology is well suited for intermediate courses in the sociology of mass media and mass communication, as well as courses in terrorism and cultural sociology.

Throughout the world, the mass media are responsible for shaping the form and content of experiences. In this book, David L. Altheide examines how the mass media, including news and popular culture, have cast terrorism, propaganda and social control post 9/11. Altheide shows how fear works with terrorism to alter discourse, social meanings, and our sense of being in the world. Emphasis is placed on the different institutional interventions and how these particular stories become framed and inform the wider media narratives of terror. The author argues that post 9/11 we are witnessing the emergence of new communication formats that not only constitute counter-narratives, but also shape future communicative experience. The text is suitable for scholars and students interested in the ongoing relationship between the media and terror post 9/11.

Over the past few years, media outlets have spotlighted coverage of terror attacks. Drawing on both popular and academic articles, [this book] analyzes the larger issues surrounding media's studies, architecture, and information science, each contributor brings a distinctive perspective. Answering a growing need to understand media discourse on terrorism, this volume complements readings in upper-level mass communication courses and is a valuable resource for scholars of international media and terrorism. -Back cover.

Mass Media, Mass Propaganda analyzes a wide range of issues, domestic and international, concerning American and global news coverage of the U.S. 'War on Terror.' Topics reviewed include: media coverage of the invasion and occupation of Iraq, the proliferation of weapons of mass destruction, Iraqi civil war and resistance to occupation, September 11th and 'Operation Enduring Freedom' in Afghanistan, human rights violations in Iraqm domestic anti-way dissent and censorship, and potential future targets in the 'War on Terror.' This work approaches the study of media through a political economy analysis, examining the ways in which the American corporate media works to reinforce official views and propaganda, and the ways in which it challenges official pro-war platforms. A comparative approach is taken in contrasting the American mass media with other media institutions from the Progressive-Left American press, the British and Australian press, and Arab electronic media. Major models analyzed and evaluated throughout this work include the 'Propaganda Model,' developed by Noam Chomsky and Edward Herman, and the 'Indexing Model,' elaborated upon by scholars such as W. Lance Bennett, Steven Livingston, and Jonathan Mermin.

The trinity of government, military and publics has been drawn together into immediate and unpredictable relationships in a "new media ecology" that has ushered in new asymmetries in the waging of war and terror. To help us understand these new relationships, Andrew Hoskins and Ben O'Loughlin here provide a timely, comprehensive and highly readable survey of the field of war and media. War is diffused through a complex mesh of our everyday media. Paradoxically, this both facilitates and contains the presence and power of enemies near and far. The conventions of so-called traditional warfare have been splintered by the availability and connectivity of the principal locus of war today: the electronic and digital media. Hoskins and O'Loughlin identify and illuminate the conditions of what they term "diffused war" and the new challenges it raises for the actors who wage and counter warfare, for their agents and mechanisms of the new media and for mass publics. This book offers an invaluable review of the key literature and presents a fresh approach to the understanding of the dynamic relationships between war and media. It will be welcomed by a broad range of students taking courses on war and media and related modules, especially in media, communication and cultural studies, politics and international relations, sociology, journalism, and security studies.

These candid conversations capture the difficulties of reporting during crisis and war, particularly the tension between government and the press. The participants include distinguished journalists—American and foreign, print and broadcast—and prominent public officials, past and present. They illuminate the struggle to balance free speech and the right to know with the need to protect sensitive information in the national interest. As the Information Age collides with the War on Terrorism, that challenge becomes even more critical and daunting. "We are very careful in what we talk about publicly. We do not want to paint a picture for the bad guys. So we don't talk very much at all about what we're going to do going forward."—Victoria Clarke, Department of Defense "This was a war that was very different. It was conducted primarily by about 200 to 250 special forces soldiers on the ground. There were no reporters with those soldiers until after the fall of Kandahar, until the war was essentially over. There were no eyes and ears, and that's the way the Pentagon wants it."—John McWethy, ABC News "I covered Capitol Hill for a very long time and was always astounded by the nonpolitical motivation of a lot of people that are up there who really do want to make the world better, want to make the U.S. better. So don't come away believing that because there are political implications that there are always political motivations."—Candy Crowley, CNN "There is a feeling among the community, Muslim Americans, and also overseas that we might become the new enemy. But so far nobody knows whether it is just because of the war or if it's going to last."—Hafez Al-Mirazi, Al-Jazeera Cosponsored with the Shorenstein Center on the Press, Politics and Public Policy at the Kennedy School, Harvard University.

Scientific Essay from the year 2013 in the subject Politics - Topic: Peace and Conflict, Security, grade: 77.0, University of Sheffield, course: Theory and Practice of International Relations, language: English, abstract: In 2012, at least 67 journalists had been killed in action in different conflict areas across the globe, making it one of the deadliest years for media persons in action (CPJ, 2012). Never before in the recorded history, have so many journalists lost their lives in conflict zone. There was a time when media in war was treated at par with Red Cross Samaritans. But, now journalists are seen as polarised agents of either side (Aday et al., 2005: 6; CPJ, 2012). Perhaps the notion has befallen as a result of increasingly state controlled and propagated media content. Several scholars have researched and argued that in contemporary era, media objectivity is almost invisible and the tactics that make it biased are hidden from masses. Although, there is no deniability in the argument that media has the power to filter certain content in specific style to get desirable response from the public, but unfortunately, it has lost majority control over making that decision. Now it is being used by the governments as a tool to generate consensus over its operations, however outrageous they might be. Researches indicate that in case of ongoing ‘war on terror’ media has been effectively used to create mass support for war, dehumanise enemies, create a fake sense of victory and even as a strategic method to instil positive image in hostile countries. This paper is classified as follows. The first part deals with the concepts of framing, elite and pluralist theories and propaganda model suggested by Herman and Chomsky. Second part attempts to elaborate on the various roles that media plays in the war on terror under, with a brief discussion about the counter forces acting in the information technology that may revolutionise the war reporting in future and challenge the state’s control over the information flow like never before. Finally, the third section looks at how media can be used to instigate peace in conflict regions.

An eye-opening case study of the news at war, introducing a critical perspective on our mass media The Pen and the Sword is the only comprehensive examination of how the media have covered the 21st Century's #1 news story: terrorism and the wars in Afghanistan and Iraq. This is the full story—from 9/11 to the Obama doctrine, and including: The war in Afghanistan. There were two sides to this story, but the press told only one, and the untold story would return to haunt us. The campaign for war in Iraq. What did the press know and when did they know it about the web of lies that led us into war? Iraq, from invasion to "Mission Accomplished." When the story of war is told as patriotic hymn, Playstation game, or melodrama of macho heroes and bad guys dressed in black, important things are left out. Aftermath, from "Mission Accomplished" to the present. Something has changed since the Vietnam War, when the press finally found its critical voice. However, the 21st Century media continue to cling to an untenable, pro-war story, even after the public has abandoned it. The Pen and the Sword uses this tragic and eye-opening case study of the news at war to ask, "Why?" and to offer a critical perspective on our mass media, including the latest information on the underpinnings of the news business—corporate ownership, the power of elites to define the news—and adds three important new features of the media landscape: The media profit crisis of the late '00s and how it is affecting the news. The creation and mainstreaming of a new right-wing media surround-sound system. The increasing importance of entertainment media and soft news in shaping our views.