Representations of first contact—the first meetings of European explorers and Native Americans—have always had a central place in our nation’s historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths—and how those myths acquired different meanings at different points in our nation’s history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth-century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies—paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell—Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. Yet others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.

Representations of first contact—the first meetings of European explorers and Native Americans—have always had a central place in our nation’s historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths—and how those myths acquired different meanings at different points in our nation’s history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth-century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies—paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell—Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. Yet others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.

Sacred Shock attempts to lay bare the inner workings of Byzantine art by looking closely at the marginal or subsidiary areas in works of art.

News Framing Effects is a guide to framing effects theory, one of the most prominent theories in media and communication science. Rooted in both psychology and sociology, framing effects theory describes the ability of news media to influence people’s attitudes and behaviors by subtle changes to how they report on an issue. The book gives expert commentary on this complex theoretical notion alongside practical instruction on how to apply it to research. The book’s structure mirrors the steps a scholar might take to design a framing study. The first chapter establishes a working definition of news framing effects theory. The following chapters focus on how to identify the independent variable (i.e., the "news frame") and the dependent variable (i.e., the "framing effect"). The book then considers the potential limits or enhancements of the proposed effects (i.e., the "moderators") and how framing effects might emerge (i.e., the "mediators"). Finally, it asks how strong these effects are likely to be. The final chapter considers news framing research in the light of a rapidly and fundamentally changing news and information market, in which technologies, platforms, and changing consumption patterns are forcing assumptions at the core of framing effects theory to be re-evaluated.

From its origins in the Midwest in the early nineteenth century, the technique of light timber framing-also known at the time as "Chicago construction"-quickly came to underwrite the territorial and ideological expansion of the United States. Softwood construction was inherently practical, as its materials were readily available and required little skill to assemble. The result was a built environment that erased typological and class distinctions: no amount of money can buy you a better 2 x 4. This fundamental sameness paradoxically underlies the American culture of individuality, unifying all superficial differences. It has been both a cause and effect of the country's high regard for novelty, in contrast with the stability that is often assumed to be essential to architecture. American Framing is a visual and textual exploration of the social, environmental, and architectural conditions and consequences of this ubiquitous form of construction. For architecture, it offers a story of an American project that is bored with tradition, eager to choose economy over technical skill, and accepting of a relaxed idea of craft in the pursuit of something useful and new-the forming of an architecture that enables architecture.

Ten years ago, amateur photographer and school bus driver Cynthia Stewart dropped off eleven rolls of film at a drugstore near her home in Ohio. The rolls contained photographs of her eight-year-old daughter Nora, including two of the child in the shower - photos that would cause the county prosecutor to arrest Cynthia, take her away in handcuffs, threaten to remove her daughter from her home, and charge her with crimes that carried the possibility of sixteen years in prison. The disturbing case would ultimately attract national attention - including stories in USA Today and on NPR - and supporters including the famed photographer Sally Mann, Katha Pollitt, and the ACLU. Framing Innocence brilliantly probes the many questions raised; when does a photograph of a naked child ''cross the line'' from innocent snapshot to child porn? What makes a photograph dangerous - the situation in which it is shot or the uses to which it might be put? When does the parent, and when does the state, know best? Written by poet Lynn Powell, a neighbor of Cynthia Stewart's, this riveting and beautifully told story plumbs the perfect storm of events and people that threatened an ordinary family in a small American town. Framing Innocence features a determined prosecutor; a fundamentalist Christian anti-porn crusader who is appointed as Cynthia's daughter's guardian; the local attorneys for whom the case would become a crucible; and the many neighbors - friends and strangers, Republican and Democrat - who come together to fight for sanity and for justice for Cynthia and her family.

In this book Joe Feagin extends the systemic racism framework in previous Routledge books by developing an innovative concept, the white racial frame. Now four centuries-old, this white racial frame encompasses not only the stereotyping, bigotry, and racist ideology emphasized in other theories of "race," but also the visual images, array of emotions, sounds of accented language, interlinking interpretations and narratives, and inclinations to discriminate that are still central to the frame’s everyday operations. Deeply imbedded in American minds and institutions, this white racial frame has for centuries functioned as a broad worldview, one essential to the routine legitimation, scripting, and maintenance of systemic racism in the United States. Here Feagin examines how and why this white racial frame emerged in North America, how and why it has evolved socially over time, which racial groups are framed within it, how it has operated in the past and in the present for both white Americans and Americans of color, and how the latter have long responded with strategies of resistance that include enduring counter-frames. In this new edition, Feagin has included much new interview material and other data from recent research studies on framing issues related to white, black, Latino, and Asian Americans, and on society generally. The book also includes a new discussion of the impact of the white frame on popular culture, including on movies, video games, and television programs as well as a discussion of the white racial frame’s significant impacts on public policymaking, immigration, the environment, health care, and crime and imprisonment issues.

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Framing the Global explores new and interdisciplinary approaches to the study of global issues. Essays are framed around the entry points or key concepts that have emerged in each contributor's engagement with global studies in the course of empirical research, offering a conceptual toolkit for global research in the 21st century.