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E xpatriate Englishman Eadweard Muybridge (1830-1904), a brilliant and eccentric photographer, gained worldwide fame photographing animal and human movement imperceptible to the human eye. Hired by railroad baron Leland Stanford in 1872, Muybridge used photography to prove that there was a moment in a horse's gallop when all four hooves were off the ground at once. He spent much of his later career at the University of Pennsylvania, producing thousands of images that capture progressive movements within fractions of a second.

This article looks at the role, impact and response to the internet, new media and citizen journalism during the 2007 protests.\n\nIt starts by going over the history of burma and the junta and the events leading up to the 2007 protests. This protest was different than previous burmese protests due to the amount of information coming out. Cyberspace was flooded with grainy pictures and videos taken by burmese citizens,\n\nThe internet allowed people in Burma to send information and pictures out to show what was happening bringing a new type of political activism and global advocacy. The burmese protests were influenced greatly by this new media, but the protests still failed and many were killed.\n\nThe article talks about Yochai Benkler who argues the internet has opened possibilities even for those living under brutal regimes. Cheap cost and decentralisation is the main factors that are good about the internet in this situation.\n\nThe burmese media used to be free when under colonial rule. This free expression may have sparked the independence movement, but was then restricted when the army took over and restricted the media. Old media is easy to control by controling the sources (eg newspapers and TV stations). The internet is the new media model. BurmaNet, funded by the Soros foundation was one of the 1st news sites. Others followed, many based in thailand and with contacts to pro-democracy movements\n\nThe government stepped up its efforts to stop this content and prohibited the ownership of computers without approval. It also made its own propaganda websites. The 2007 protests show that even though the gov attempted to control the media the internet is uncontrollable and info will get out. Web 2.0 was also in full swing with citizen journalists uploading photos, video and blogging. The main news outlets were al using grainy amateur footage.\n\nDuring the protests the gov blocked the internet and cell phones sometimes. \n\nMuch of the blogs were outsite the co

One might say that Andreas Gursky learned photography three times. Born in 1955, he grew up in Düsseldorf, the only child of a successful commercial photographer, learning the tricks of that trade before he had finished high school. In the late 1970s, he spent two years in nearby Essen at the Folkwangschule (Folkwang School), which Otto Steinert had established as West Germany's leading training ground for professional photographers, especially photojournalists. At Essen, Gursky encountered photography's documentary tradition, a sophisticated art of unembellished observation, whose earnest outlook was remote from the artificial enticements of commercial work. Finally, in the early 1980s, he studied at the Staatliche Kunstakademie (State Art Academy) in Düsseldorf, which thanks to artists such as Joseph Beuys, Sigmar Polke, and Gerhard Richter had become the hotbed of Germany's vibrant postwar avant-garde. There Gursky learned the ropes of the art world and mastered the rigorous method of Bernd and Hilla Becher, whose photographs had achieved prominence within the Conceptual and Minimal art movements.

Top 50 Free Open Courseware Classes for Journalists November 15, 2009 If you write fiction, then you are not a journalist - although, many people might believe that mainstream media has moved more toward sensationalism than to the truth to gain ratings. Journalism is in trouble, if this is how this writing genre is depicted today. But, educators are seeking to turn the genre's reputation around to a more reputable yet still exciting stance. This movement is reflected in many free online courses and in entire Websites dedicated to journalism ethics, editing and new media.

Thomas Keenan - Mobilizing Shame - The South Atlantic Quarterly 103:2/3 The South Atlantic Quarterly 103.2/3 (2004) 435-449 Mobilizing Shame Thomas Keenan What difference would it make for human rights discourse to take the photo opportunity seriously? Not the photo ops on behalf of human rights, but the ones coming from the other side, the other sides. What would it mean to come to terms with the fact that there are things which happen in front of cameras that are not simply true or false, not simply representations and references, but rather opportunities, events, performances, things that are done and done for the camera, which come into being in a space beyond truth and falsity that is created in view of mediation and transmission? In what follows, I wish to respond to these questions by focusing on what, within human rights activism and discourse, has come to be known as "the mobilization of shame." Shame and Enlightenment It is now an unstated but I think pervasive axiom of the human rights movement that those agents whose behavior it wishes to affect -- governments, armies, businesses, and militias -- are exposed in some significant way to the force of public opinion, and that they are (psychically or emotionally) structured like individuals in a strong social or cultural context that renders them vulnerable to feelings of dishonor, embarrassment, disgrace, or ignominy. Shame is thought of as a primordial force that articulates or links... Project MUSE® - Download/Export Citation * MLA * APA * Chicago * Endnote Keenan, Thomas, 1959-. "Mobilizing Shame." The South Atlantic Quarterly 103.2 (2004): 435-449. Project MUSE. [Library name], [City], [State abbreviation]. 22 Apr. 2009 . Always review your references for accuracy and make any necessary corrections before using. Pay special attention to personal names, capitalization, and dates. Consult your library or click here for more information on citing sources. Keenan, T

Avaaz.org is a new global web movement with a simple democratic mission: to close the gap between the world we have, and the world most people everywhere want. "Avaaz" means "Voice" in many Asian, Middle Eastern and Eastern European languages. Across the world, most people want stronger protections for the environment, greater respect for human rights, and concerted efforts to end poverty, corruption and war. Yet globalization faces a huge democratic deficit as international decisions are shaped by political elites and unaccountable corporations -- not the views and values of the world's people. Technology and the internet have allowed citizens to connect and mobilize like never before. The rise of a new model of internet-driven, people-powered politics is changing countries from Australia to the Philippines to the United States. Avaaz takes this model global, connecting people across borders to bring people powered politics to international decision-making.

Dorothea Lange: The Photographer As Agricultural Sociologist By Linda Gordon To a startling degree, popular understanding of the Great Depression of the 1930s derives from visual images, and among them, Dorothea Lange's are the most influential. Although many do not know her name, her photographs live in the subconscious of virtually anyone in the United States who has any concept of that economic disaster. Her pictures exerted great force in their own time, helping shape 1930s and 1940s Popular Front representational and artistic sensibility, because the Farm Security Administration (FSA), her employer, distributed the photographs aggressively through the mass media. If you watch the film The Grapes of Wrath with a collection of her photographs next to you, you will see the influence.1 Lange's commitment to making her photography speak to matters of injustice was hardly unique-thousands of artists, writers, dancers, and actors were trying to connect with the vibrant grass-roots social movements of the time. They formed a cultural wing of the Popular Front, a politics of liberal-Left unity in support of the New Deal.

link to a very useful set of articles on visual journalism from the Nieman foundation Context. Layered information. Voice. Movement. Transparency. Photographer as "author." Subject as "storyteller." Image as "instigator." Words and phrases that even a few years ago were not used to describe the practice of photojournalism surface today with hesitant certainty. Where the digital road is leading those whose livelihood relies on the visual portrayal of our contemporary lives might not be entirely clear. By adapting to technology in shooting their images and in how they publish and distribute their work, photojournalists are constructing roads that are already taking them in new and sometimes unanticipated directions.