War And Television

Television has come to play an ever more decisive role in the preparation and planning of war, as well as in its execution. In War and Television Bruce Cumings carefully explores the history of television's relationship to US warmaking since World War II, up to and including its presentation of the carnage in Kuwait and Iraq. Cumings examines Vietnam, long thought to have been the first television war, but finds that characterization more apt for the Gulf conflict which was fought through, packaged by, and sold to the public on television. At the centre of the book is the extraordinary tale of Cumings's own experience as historical consultant to a Thames Television production, Korea: The Unknown War, and his subsequent trials with the Public Broadcasting System when the film was released for North American distribution.

An essential dimension of the Cold War took place in the realm of ideas and culture. While much work exists on cinema, relatively little research has been conducted on this subject in relation to television, despite the latter being a technology and popular cultural form that emerged during this period. This book rectifies that absence by examining the impact of the Cold War on entertainment television, and underlines the comparative aspect by studying programs from both blocs – without forgetting, of course, the outsize impact of American television. Although most of the focus is on the two main protagonists, the US and the USSR, chapters also consider programming from the UK, Czechoslovakia, Romania, and both East and West Germany. This book represents a contribution to the debate about the cultural Cold War through a rigorously comparative analysis of the two blocs. For this reason, the approach used is thematic. The study begins by considering the subject of censorship, and then goes on to look at the very particular case of the two Germanys. A series of comparative genre studies follow, including police and war, variety shows, and documentaries and docudramas. Perhaps surprisingly, the similarities are often greater than the differences between television in the two blocs.

Portrayed in Western discourse as tribal and traditional, Afghans have in fact intensely debated women's rights, democracy, modernity, and Islam as part of their nation building in the post-9/11 era. Wazhmah Osman places television at the heart of these public and politically charged clashes while revealing how the medium also provides war-weary Afghans with a semblance of open discussion and healing. After four decades of gender and sectarian violence, she argues, the internationally funded media sector has the potential to bring about justice, national integration, and peace. Fieldwork from across Afghanistan allowed Osman to record the voices of many Afghan media producers and people. Afghans offer their own seldom-heard views on the country's cultural progress and belief systems, their understandings of themselves, and the role of international interventions. Osman analyzes the impact of transnational media and foreign funding while keeping the focus on local cultural contestations, productions, and social movements. As a result, she redirects the global dialogue about Afghanistan to Afghans and challenges top-down narratives of humanitarian development.

“The eyewitness accounts of the many phases of the war in this memoir bring events to life as if they had happened yesterday” (Vietnam Veterans of America Book Reviews). On the Frontlines of the Television War is the story of Yasutsune “Tony” Hirashiki’s ten years in Vietnam—beginning when he arrived in 1966 as a young freelancer with a 16mm camera, but without a job or the slightest grasp of English, and ending in the hectic fall of Saigon in 1975, when he was literally thrown on one of the last flights out. His memoir has all the exciting tales of peril, hardship, and close calls of the best battle memoirs, but it is primarily a story of very real and yet remarkable people: the soldiers who fought, bled, and died, and the reporters and photographers who went right to the frontlines to record their stories and memorialize their sacrifice. If this was truly the first “television war,” then it is time to hear the story of the cameramen who shot the pictures and the reporters who wrote the stories that the average American witnessed daily in their living rooms. An award-winning sensation when it was released in Japan in 2008, this book has been completely recreated for an international audience. “Tony Hirashiki is an essential piece of the foundation on which ABC was built . . . Tony reported the news with his camera and in doing so, he brought the truth about the important events of our day to millions of Americans.” —David Westin, former President of ABC News

"One doesn't have to be a panjandrum of Communications to realize that television does something to us," Michael Arlen (former TV critic of The New Yorker) writes in the Introduction to Living-Room War. He continues, "Television has a transforming effect on events. It has a transforming effect on the people who watch the transformed events-it's just hard to know what that is." Living-Room War is Arlen's valiant-and entertaining-attempt to figure out exactly what exactly television does to us. This timeless collection of essays provides a poetic look at 1960s television culture, ranging from the Vietnam war to Captain Kangaroo, from the 1968 Democratic convention to televised sports.

How US government and media collaborated in their dissemination of Cold War propaganda.

Steinman describes his experiences as head of the NBC news bureau in Saigon from 1966 to 1968, and he writes of how the war changed the news coverage of battle to a home audience.

Conventional wisdom holds that television was a co-conspirator in the repressions of Cold War America, that it was a facilitator to the blacklist and handmaiden to McCarthyism. But Thomas Doherty argues that, through the influence of television, America actually became a more open and tolerant place. Although many books have been written about this period, Cold War, Cool Medium is the only one to examine it through the lens of television programming. To the unjaded viewership of Cold War America, the television set was not a harbinger of intellectual degradation and moral decay, but a thrilling new household appliance capable of bringing the wonders of the world directly into the home. The "cool medium" permeated the lives of every American, quickly becoming one of the most powerful cultural forces of the twentieth century. While television has frequently been blamed for spurring the rise of Senator Joseph McCarthy, it was also the national stage upon which America witnessed—and ultimately welcomed—his downfall. In this provocative and nuanced cultural history, Doherty chronicles some of the most fascinating and ideologically charged episodes in television history: the warm-hearted Jewish sitcom The Goldbergs; the subversive threat from I Love Lucy; the sermons of Fulton J. Sheen on Life Is Worth Living; the anticommunist series I Led 3 Lives; the legendary jousts between Edward R. Murrow and Joseph McCarthy on See It Now; and the hypnotic, 188-hour political spectacle that was the Army-McCarthy hearings. By rerunning the programs, freezing the frames, and reading between the lines, Cold War, Cool Medium paints a picture of Cold War America that belies many black-and-white clichés. Doherty not only details how the blacklist operated within the television industry but also how the shows themselves struggled to defy it, arguing that television was preprogrammed to reinforce the very freedoms that McCarthyism attempted to curtail.