The Death and Life of American Journalism: The Media by Robert W. McChesney, John Nichols

By Robert W. McChesney, John Nichols

American journalism is collapsing as newspapers and magazines fail and ratings of journalists are laid off around the nation. traditional knowledge says the web is guilty, yet veteran newshounds and media critics Robert W. McChesney and John Nichols disagree. The trouble of yank journalism predates the good Recession and electronic media increase. What we're witnessing now's the tip of the industrial information version and the opportune second for the production of a brand new process of self sustaining journalism, one backed through the general public and in a position to safeguarding our democracy.

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American journalism is collapsing as newspapers and magazines fail and rankings of newshounds are laid off around the state. traditional knowledge says the web is accountable, yet veteran newshounds and media critics Robert W. McChesney and John Nichols disagree. The hindrance of yankee journalism predates the good Recession and electronic media increase.

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Other cartoonists viewed speed and efficiency very differently: they were what cartoonists had to provide if they were to be taken seriously by the larger film industry. The cartoon producer in the twenties who most successfully accommodated himself to the industry's demands was not Pat Sullivan or Max Fleischer, but Paul Terry. 34 Cartoon Acting Terry had left Bray's studio by early in 1917, when he sold a cartoon with his character Farmer Al Falfa to the Edison company; then he made a few parodies of feature films before entering the army.

He was then considered the best animator in the world—and the highest paid, too—because he could turn out these fantastic amounts of footage; he just slashed the stuff out. "36 The early animators had inherited, from newspaper comics and magazine cartoons, characters that were drawn and animated as relatively rigid vertical forms. What Falk called "more natural animation" involved not just more drawings—and thus more movement—but also character design with a greater reliance on curves. ) Vertical forms tend to stutter when they're moving across the screen, whereas curving forms tend to flow.

McCay animated his dinosaur, Gertie, with the same combination of grand scale and surprising delicacy; she is like a mischievous and unpredictable trained animal, suggesting variously an elephant, horse, or big cat. In the Bray cartoons, by contrast, 18 Cartoon Acting there is nothing resembling real movement; everything is stiff and mechanical, in keeping with the industrial model that Bray had embraced so confidently. Barre had embraced it, too, but he may have been looking back over his shoulder at McCay's example with some wistfulness.

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