Hanno Hardt - In The Company Of Media: Cultural Constructions Of Communication, 1920s To 1930s

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In the Company of Media

Critical Studies in Communication and in the Cultural Industries

Herbert I. Schiller, Series Editor

In the Company of Media: Cultural Constructions of Communication, 1920s-1930s, Hanno Hardt

Free Radio: Electronic Civil Disobedience, Lawrence Soley

Celluloid Mushroom Clouds: Hollywood and the Atomic Bomb, Joyce Evans

Copyrighting Culture: The Political Economy of Intellectual Property, Ronald V. Bettig

Invisible Crises: What Conglomerate Control of the Media Means for America and the World, edited by George Gerbner, Hamid Mowlana, and Herbert I. Schiller

Monopoly Television: MTV's Quest to Control the Music, Jack Banks

Communication and the Transformation of Economics: Essays in Information, Public Policy, and Political Economy, Robert E. Babe

Consumer Culture and TV Programming, Robin K. Andersen

Marketing Madness: A Survival Guide for a Consumer Society, Michael F. Jacobson and Laurie Ann Mazur

Triumph of the Image: The Media's War in the Persian Gulf, A Global Perspective, Hamid Mowlana, George Gerbner, and Herbert I. Schiller

Mass Communications and American Empire, Second Edition, Herbert I. Schiller

Forthcoming

Evil Eye: Voyeurism and Challenges to the First Amendment, Clay Calvert

In the Company of MEDIA

Cultural Constructions of Communication, 1920s1930s

Hanno Hardt

First published 2000 by Westview Press

Published 2018 by Routledge
52 Vanderbilt Avenue, New York, NY 10017
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright 2000 Taylor & Francis

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data

Hardt, Hanno.
In the company of media : cultural constructions of communication, 1920s-1930s / Hanno Hardt.
p. cm. (critical studies in communication and in the cultural industries)
Essays chiefly by the author; includes two essays by Bonnie Brennen and one essay with Matthew Killmeier as collaborator with the author.
Includes bibliographical references and index.
Contents : Introduction : cultural constructions of communication The gaze of the artist : American newspapers in an urban setting Revolutionary reportage : constructing the new Soviet journalism Negotiated images : the rise of photojournalism in Weimar Germany Radio and kultur : on the social uses of German broadcasting Fictional journalists : news work in American novels / Bonnie Brennen Billboards of the dream : Walker Evans on 1930s U.S. advertising / Bonnie Brennen Wireless pleasure : locating radio in the American home / with Matthew Killmeier Pierced memories : on the rhetoric of a bayoneted photograph.
ISBN 0-8133-1422-4
1. Mass media and culture. I. Brennen, Bonnie. II. Killmeier, Matthew. III. Title. IV. Series.
P94.6.H37 1999
302.23dc21

99-29461
CIP

ISBN 13: 978-0-367-00457-6 (hbk)

To Vida, revolucionarka za vedno

Contents

, Bonnie Brennen

, Bonnie Brennen

, with Matthew Killmeier

1. xiii

Guide

This book explores the imaginative construction of a cultural history of the media in a series of essays that draw on various artistic and intellectual narratives of Western societies and trace incidental encounters with the means of social communication in different cultural and political settings. By privileging narratives that pertain to the creative definitions of media in the cultural life of a society and to the emergent media technology during the 1920s and 1930s, in particular these essays seek to contribute to an understanding of media and their construction in the imagination of artists and writers by reflecting specific attitudes or feelings toward the uses or practices of media.

In fact, the book insists on the proximity of art and everyday lifefor the purpose of incorporating the creative into social meanings of mediaand suggests that artistic production as social production remains culturally and politically relevant beyond the 1920s and 1930s. The public display of specific artistic constructions of media by artists and, therefore, the creation of specific media realities make works of art important sources of public understandings of media practices. Because of a history of separation of the arts from everyday life by politics and commerceparticularly in the United Statesthere is much to be done to overcome these traditional barriers. This book is a beginning, and, as such, it is suggestive rather than definitive, selective rather than exhaustive in its treatment of creative and professional narratives concerning media uses and practices.

Since media are not only lived but also remembered, they are found reconstituted in rich and sometimes powerful narratives that challenge the interests of the cultural historian of communication. Such narrativesincluding the visual artsare based on reflections or interpretations that are grounded in the real conditions of existence at a specific historical moment. Thus, this book also identifies and describes what Raymond Williams calls structures of feeling, emergent cultural phenomena that manifest themselves in the production of words and images as text.

The book reflects my continuing interest in understanding media through the cultural narratives of uses and practices as elements of a cultural history of communication; thus, draws on "Social Uses of Radio in Germany," Journal of Communication Inquiry 6(2): 7-20, and is reprinted by permission of Sage Publications, Inc.

But books are also more often than not collaborative efforts, This one is no exception. I would like to thank my colleagues: Bonnie Brennen, who contributed . My colleague and director of the School of Journalism and Mass Communication at the University of Iowa, John Soloski, generously provided financial and assistantship support, while graduate students in communication studies and mass communication supplied a congenial intellectual atmosphere for this work.

Book projects need publishers, and I am grateful to Catherine Murphy of West-view Press for her patience during the past years and her guidance through the final process of putting this book together.

Additional institutional support has come from a number of organizations, which have granted permission for the use of images, particularly in , 7, and 8: the ACA Gallery; the Metropolitan Museum and the Whitney Museum of American Art (all in New York); the National Museum of American Art and the Library of Congress Prints and Photographs Division (both in Washington, D.C.); the Butler Institute of American Art (Youngstown, Ohio); Thomson Consumer Electronics, Inc. (Indianapolis, Indiana); and Philips Electronics North America Corporation (Tarrytown, New York).

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