The broadcasting industry’s trade association, the National Association of Broadcasters (NAB), sought to sanitize television content via its self-regulatory document, the Television Code. The Code covered everything from the stories, images, and sounds of TV programs (no profanity, illicit sex and drinking, negative portrayals of family life and law enforcement officials, or irreverence for God and religion) to the allowable number of commercial minutes per hour of programming. It mandated that broadcasters make time for religious programming and discouraged them from charging for it. And it called for tasteful and accurate coverage of news, public events, and controversial issues. Using archival documents from the Federal Communications Commission, NBC, the NAB, and a television reformer, Senator William Benton, this book explores the run-up to the adoption of the 1952 Television Code from the perspectives of the government, TV viewers, local broadcasters, national networks, and the industry’s trade association. Deborah L. Jaramillo analyzes the competing motives and agendas of each of these groups as she builds a convincing case that the NAB actually developed the Television Code to protect commercial television from reformers who wanted more educational programming, as well as from advocates of subscription television, an alternative distribution model to the commercial system. By agreeing to self-censor content that viewers, local stations, and politicians found objectionable, Jaramillo concludes, the NAB helped to ensure that commercial broadcast television would remain the dominant model for decades to come.

Coding For Dummies (9781118951309) is now being published as Coding For Dummies (9781119293323). While this version features an older Dummies cover and design, the content is the same as the new release and should not be considered a different product. Hands-on exercises help you learn to code like a pro No coding experience is required for Coding For Dummies, your one-stop guide to building a foundation of knowledge in writing computer code for web, application, and software development. It doesn't matter if you've dabbled in coding or never written a line of code, this book guides you through the basics. Using foundational web development languages like HTML, CSS, and JavaScript, it explains in plain English how coding works and why it's needed. Online exercises developed by Codecademy, a leading online code training site, help hone coding skills and demonstrate results as you practice. The site provides an environment where you can try out tutorials built into the text and see the actual output from your coding. You'll also gain access to end-of-chapter challenges to apply newly acquired skills to a less-defined assignment. So what are you waiting for? The current demand for workers with coding and computer science skills far exceeds the supply Teaches the foundations of web development languages in an easy-to-understand format Offers unprecedented opportunities to practice basic coding languages Readers can access online hands-on exercises and end-of-chapter assessments that develop and test their new-found skills If you're a student looking for an introduction to the basic concepts of coding or a professional looking to add new skills, Coding For Dummies has you covered.

The book explores the use and meaning of the kimono in America and traces the transformation of the garment from its ethnic origins, through its many appearances in fine art, costume, and high fashion, to its role in the contemporary Art-to-Wear Movement. It explores the American use of the kimono as a garment, as a symbol, and as an art form.

While Detroit has been a major focus in urban history, little has been written on censorship in the very city that—due to shifting legalities, the urban crisis, and racial tensions—profoundly shaped media suppression in the United States. By examining censorship in film and literature, Indecent Detroit recounts the evolution of media control from the end of WWII through the 1970s, when the US saw a major change in the legal mechanisms used to censor media due to court rulings that curtailed censorship laws. Ben Strassfeld reveals how Detroit altered its censorial tactics and rhetoric from an obscenity-based system of censorship centered in the Detroit Police Department to a regulatory model based in zoning law that was then expanded nationwide. This shift was connected to broader social and political trends, including the sexual revolution, that led the public to increasingly turn against censorship. A must-read for film and media scholars, Indecent Detroit highlights how one Midwest city's ordinance was imitated across the country after it was upheld by the US Supreme Court, making this more than a local curiosity but also an influential model for the cultural, political, and moral control of urban space through media regulation.

A war and spy novel as well as a mystery, this is the story of a poet recruited in the spring of 1943 to write poetry for coding and decoding messages in the OSS. Jake Finny, a college senior in the reserves, finds himself dealing with a series of unexplained deaths in the Message Center. As he moves from Washington to Algiers to Italy, fearing for his life. He goes AWOL and seeks those committing these crimes, aided by the Italian girl his friend wanted to marry. As the pressure on him intensifies, he is haunted by the head of Counterintelligence, a famous poet whom he can't determine whether he is sympathetic to him or thinks he is implicated in these deaths. He has talked to him about the connection between poetry and counterintelligence and only later realizes to his sorrow what an important part the man has played in his life. The novel is not only about Jake and his situation but also about the workings of OSS and the conditions in Italy during the war. 4 photos. A Merriam Press World War II Novel.

This book, with its focus on the study of diplomatic protocol and etiquette, collects high-quality papers written by scholars in diplomatic protocol from nine countries, including US, UK, Russia, Japan, Canada, Netherlands, India and China. As a result of in-depth international academic cooperation, it explores diplomatic protocol from three dimensions of theory, practice and country-specific and has the characteristics of internationality and nationality. From a global perspective, it is the first time that experts from so many countries work together in diplomatic protocol which makes this book present a more comprehensive and diverse overview. This book, as an effort made to enhance understanding among different cultures and facilitate the harmonious coexistence of people across the world, is remarkably helpful for promoting the research of diplomatic protocol and etiquette, exploring the true connotation of protocol and etiquette, and improving its practicality in realities.

Catholicism was all over movie screens in 2004. Mel Gibsons The Passion of the Christ was at the center of a media firestorm for months. A priest was a crucial character in the Academy Award-winning Million Dollar Baby. Everyone, it seemed, was talking about how religious stories should be represented, marketed, and received. Catholic characters, spaces, and rituals have been stock features in popular films since the silent era. An intensely visual religion with a well-defined ritual and authority system, Catholicism lends itself to the drama and pageantry of film. Moviegoers watch as Catholic visionaries interact with the supernatural, priests counsel their flocks, reformers fight for social justice, and bishops wield authoritarian power. Rather than being marginal to American popular culture, Catholic people, places, and rituals are all central to the world of the movie. Catholics in the Movies begins with an introductory essay that orients readers to the ways that films appear in culture and describes the broad trends that can be seen in the movies hundred-year history of representing Catholics. Each chapter is written by a noted scholar of American religion who concentrates on one movie that engages important historical, artistic, and religious issues and then places the film within American cultural and social history, discusses the film as an expression of Catholic concerns of the period, and relates the film to others of its genre. Tracing the story of American Catholic history through popular films, Catholics in the Movies should be a valuable resource for anyone interested in American Catholicism and religion and film.

The Classical Hollywood Reader brings together essential readings to provide a history of Hollywood from the 1910s to the mid 1960s. Following on from a Prologue that discusses the aesthetic characteristics of Classical Hollywood films, Part 1 covers the period between the 1910s and the mid-to-late 1920s. It deals with the advent of feature-length films in the US and the growing national and international dominance of the companies responsible for their production, distribution and exhibition. In doing so, it also deals with film making practices, aspects of style, the changing roles played by women in an increasingly business-oriented environment, and the different audiences in the US for which Hollywood sought to cater. Part 2 covers the period between the coming of sound in the mid 1920s and the beginnings of the demise of the `studio system` in late 1940s. In doing so it deals with the impact of sound on films and film production in the US and Europe, the subsequent impact of the Depression and World War II on the industry and its audiences, the growth of unions, and the roles played by production managers and film stars at the height of the studio era. Part 3 deals with aspects of style, censorship, technology, and film production. It includes articles on the Production Code, music and sound, cinematography, and the often neglected topic of animation. Part 4 covers the period between 1946 and 1966. It deals with the demise of the studio system and the advent of independent production. In an era of demographic and social change, it looks at the growth of drive-in theatres, the impact of television, the advent of new technologies, the increasing importance of international markets, the Hollywood blacklist, the rise in art house imports and in overseas production, and the eventual demise of the Production Code. Designed especially for courses on Hollywood Cinema, the Reader includes a number of newly researched and written chapters and a series of introductions to each of its parts. It concludes with an epilogue, a list of resources for further research, and an extensive bibliography.

When Benito Mussolini proclaimed that "Cinema is the strongest weapon," he was telling only half the story. In reality, very few feature films during the Fascist period can be labeled as propaganda. Re-viewing Fascism considers the many films that failed as "weapons" in creating cultural consensus and instead came to reflect the complexities and contradictions of Fascist culture. The volume also examines the connection between cinema of the Fascist period and neorealism—ties that many scholars previously had denied in an attempt to view Fascism as an unfortunate deviation in Italian history. The postwar directors Luchino Visconti, Roberto Rossellini, and Vittorio de Sica all had important roots in the Fascist era, as did the Venice Film Festival. While government censorship loomed over Italian filmmaking, it did not prevent frank depictions of sexuality and representations of men and women that challenged official gender policies. Re-viewing Fascism brings together scholars from different cultural and disciplinary backgrounds as it offers an engaging and innovative look into Italian cinema, Fascist culture, and society.

This text presents an examination of the aesthetics of animation. It provides an overview of the relationship between animation studes and media studies, then focuses on issues concerning flat and dimensional, and limited and full animation. It then looks at specific topics such as gender issues and adaption.