Media Lost and Found / / Erik Barnouw.

• Superior document: Title is part of eBook package: De Gruyter Fordham University Press Complete eBook-Package Pre-2014
• VerfasserIn: Barnouw, Erik,
• Place / Publishing House: New York, NY : : Fordham University Press, , [2021]; ©2001
• Year of Publication: 2021
• Language: English
• Series: Communications and Media Studies
• Physical Description: 1 online resource (179 p.)
• Other title: Frontmatter --; CONTENTS --; FOREWORD --; 1. In the Flaherty Way: Memories of the Robert Flaherty Film Seminar --; 2. G.I. Guide to Holland (Excerpts) --; 3 Torrentius and His Camera --; 4 The Fantasms of Andrew Oehler --; 5 The Sintzenich Diaries --; 6 The Place to Be --; 7 Radiator-Pipe Broadcasters --; 8 Mr. Greenback Goes to Town --; 9 Kitty Sullivan and Social Security --; 10 Columbia and the A-Bomb Film --; 11 The Zig-Zag Career of Radio Luxembourg --; 12 Historical Survey of Communications Breakthroughs --; 13 Lives of a Bengal Filmmaker: Satyajit Ray of Calcutta --; 14 GAMES --; 15 Introducing the Doggie Bag into the Soviet Union --; 16 The Kaufman Saga: A Cold War Idyll --; INDEX
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780823296057; 9783111189604; 9783110707298
• DOI: 10.1515/9780823296057
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Erik Barnouw.

This selection of essays, articles, lectures, and other writings by Erik Barnouw, dean of American media scholars, chronicles “the phenomenon of old media giving way to new, and then being replaced by them, as the ghosts of old media rise in new forms.” In Media Lost and Found, the sixteenth century will introduce us to early stirrings of photography, as well as the rise of “black lists,” which have a too-familiar ring within our own lifetime. The collection begins with an article on documentary film pioneer Robert Flaherty. Barnouw then moves to a discussion of his Dutch heritage and its role in Western civilization. This is followed by fascinating accounts of ingenious pioneers of camera obscura and magic lantern phantasmagoria, precursors of the magic of motion pictures. There are lively accounts of Barnouw’s own experiences, an informative brief history of communications breakthroughs, and an examination of the foibles of media censorship. The final articles discuss the importance of Indian filmmaker Satyajit Ray and cinematographer Boris Kaufman, brother of Soviet filmmakers Djiga Vertov and Mikhail Kaufman. In his writing and in his life, Erik Barnouw has been consistently elegant, self-deprecating, affectionate, and redolent of great depths, encouraging us to look for and foster them in our own lives.