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Media Essentials

Fifth  edition | ©2020  richard campbell; christopher martin; bettina fabos; shawn harmsen.

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The tools you need to understand and analyze our digital world—all at an affordable price. From the blockbuster success of Black Panther to the rise of podcasts to social media and its impact on elections, Media Essentials helps you understand the connection between mass media and today’s most significant events. The text’s concise coverage of cutting-edge topics—everything from Kendrick Lamar and Instapoets to Overwatch, and 13 Reasons Why —makes succeeding in your mass communication course informative, interesting, and entertaining. The accompanying LaunchPad for Media Essentials, available on its own or packaged with a print book  or loose-leaf book, provides you with all the tools you need to study and ace your course: the e-book, an adaptive quizzing system to help you retain concepts, videos and video assignments, activities, quizzes, an interactive timeline, and more.

Read online (or offline) with all the highlighting and notetaking tools you need to be successful in this course.

Table of Contents

Richard Campbell

Richard Campbell is professor emeritus and founding chair of the Department of Media, Journalism, and Film at Miami University, as well as the 2019 recipient of the university’s Benjamin Harrison Medallion for his “Outstanding Contribution to the Education of the Nation.” Campbell is the author of “60 Minutes” and the News: A Mythology for Middle America (1991) and coauthor of Cracked Coverage: Television News, the Anti-Cocaine Crusade, and the Reagan Legacy (1994). He has written for numerous publications, including Columbia Journalism Review , Critical Studies in Mass Communication , and TV Quarterly . Campbell is cocreator of Stats+Stories , a long-running podcast sponsored by Miami University and the American Statistical Association, and winner of the 2021 Communication Award from the Mathematical Association of America. His other projects include the digital Oxford Observer newspaper and Report for Ohio, initiatives aimed at getting more young journalists real-world experience covering under-reported areas in rural and urban communities. He is executive producer of a 2019 documentary on the role that Oxford, Ohio, played in 1964’s Freedom Summer, titled Training for Freedom: How Ordinary People in an Unusual Time and Unlikely Place Made Extraordinary History . He served for ten years on the board of directors for Cincinnati Public Radio and holds a PhD from Northwestern University.

Christopher Martin

Christopher R. Martin is a professor of digital journalism and former department head of the Department of Communication and Media at the University of Northern Iowa. He is author of two award-winning books on labor and the media: No Longer Newsworthy: How the Mainstream Media Abandoned the Working Class and Framed! Labor and the Corporate Media , both with Cornell University Press. He has written articles, book chapters, and reviews on journalism, televised sports, the Internet, and labor for several publications, including Communication Research , Journal of Communication , Journal of Communication Inquiry , Labor Studies Journal, Culture, Sport, and Society , NiemanReports , and Perspectives on Politics . He is also on the editorial board of the Journal of Communication Inquiry . He is a contributing scholar to the Center for Journalism & Liberty and a regular contributor to Working-Class Perspectives . Martin holds a Ph.D. from the University of Michigan and has also taught at Miami University.

Shawn Harmsen

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Postmodern Media - CIE A-Level Media Studies - Full Unit with Presentation, Worksheets and Examples

Subject: Media studies

Age range: 16+

Resource type: Lesson (complete)

Last updated

2 September 2021

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POSTMODERN MEDIA IS ONE OF THREE OPTIONS FOR THE POST-2021 CAMBRIDGE (CIE) A-LEVEL EXAM, SECTION A.

No-Prep Digital Lessons for Postmodern Media - Cambridge A-Level Section A (CIE)

This Lesson includes:

80-slide Interactive Teacher Presentation - easy-to-read and student-friendly visual presentation with buttons to navigate for student activities and revision. 8-page Worksheet - designed to perfectly accompany the presentation. The lesson is based on the CIE syllabus and covers the key concept of Postmodern Media as described by Cambridge.

Topics include:

• Context and History of Postmodernism - premodern, modern and postmodern eras
• Defining Postmodernism -
• Features of Postmodern Media - intertextuality, self-reflexive, parody, pastiche, homage, bricolage, irony, anti-realist, narrative fragmentation, ambiguity
• Jean Baudrillard – hyper reality, bricolage and simulacra
• Francois Lyotard – the death/implosion of meta-narratives
• Bell and Toffler - The Information Society
• Dominic Strinati – features of postmodern media
• Noam Chomsky - Marxist critique on postmodernism
• Dick Hebdige - Criticism of postmodernism

Case Studies

The Matrix Quentin Tarantino Marvel Cinematic Universe Stranger Things Youtube and Social Media Bo Burnham’s Inside

Visually engaging slides and tasks featuring videos and images Exam-style questions Up-to-date case studies Interactive presentation for revision

These lessons are designed for A-level students and may contain some content inappropriate for younger students. Please check in advance of teaching.

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The Characteristics of Postmodernism

What is postmodernism.

Postmodernism is a theory which argues other theories and critical perspectives are incapable of explaining our experiences because the world is too fragmented and unfinished to be defined. Postmodernists reject the concept of absolute truth. Therefore, religion and political systems are just futile attempts to understand the chaos.

Don’t believe everything you read online or see on television because the media only offers illusions and false hope. In the wise words of Obi-Wan Kenobi, “You will find that many of the truths we cling to depend greatly on our point of view.”

This guide will take you through some of the codes and conventions of postmodernist texts.

Subjectivity

The word “subjective” refers to the individual perspective rather than some sort of universal experience. Postmodernism emphasises our individual values and beliefs. For instance, there are no absolutes when it comes to concepts such as good and evil. We are all free to determine our own morality and our opinions will be relative to our context.

Since truth is also subjective, media texts no longer have to pretend they are accurate or realistic. Look at this disclaimer from the limited series “Inventing Anna” (2022):

The media can only provide the audience with a mediated version of events. The truth is something we can invent.

Self-reflexivity

Postmodernist media texts will often acknowledge their own artificiality and remind the audience they are media products. Some films will draw attention to the filmmaking process or the conventions of storytelling. Breaking the fourth wall and parody are also typical aspects of postmodernism.

Self-awareness

Most filmmakers want the audience to suspend their disbelief and immerse themselves in the world of the story and its characters, but postmodern films can be described as self-conscious because they don’t let the audience forget they are watching a carefully constructed narrative. One way films can demonstrate self-awareness is to play with the codes and conventions of cinema.

A great example comes from the made-for-television “Murder 101” (1991). The film stars Pierce Brosnan as a college professor who teaches a class on writing the perfect murder but he becomes the prime suspect in the death of one of the students. The twists and turns of the plot reference the conventions and clichés of crime fiction. Watch the denouement because it demonstrates several features of postmodernist texts:

Once Dey Young mispronounces Meryl Streep’s name, the actors corpse and break out of character, the clapperboard marks the end of the take, and the director asks for the scene to be reset. Importantly, when the camera moves through the production team and their equipment, two characters who died in the script appear on screen again – both alive and well. In this way, the film makes it clear we have been watching a film.

Do you like scary movies? You are probably already aware of Wes Craven’s “Scream” (1996) and how it played with well-established horror film tropes by allowing the characters to talk openly about the genre’s conventions. For instance, one character outlined the “rules” to surviving the story. This self-reflexivity was continued in the sequels:

There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate – more blood, more gore – carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead. “Scream 2” (1997)

You may be less familiar with Wes Craven’s previous attempt at postmodern horror with his “New Nightmare” (1994). The actress who starred in the original “A Nightmare on Elm Street” (1984), Heather Langenkamp, plays a version of herself haunted in real life by a demonic Freddy Krueger. The director and Robert Englund also portray themselves in the film. It is also worth a look:

Breaking the fourth wall

The fourth wall refers to the imaginary wall which separates the audience in the theatre from the actors on stage. We can see the performers, but they are unaware of our attention and remain in their fictional worlds. However, when an actor addresses the audience directly, they are said to be breaking the fourth wall.

In television and computer games, the fourth wall is the screen we are watching. Characters can turn towards the camera to break through this barrier and speak to the audience. Writers are also able to shatter the illusion of their stories by having the narrators talk to the reader.

Breaking the fourth wall can help develop a close relationship between the audience and characters because it allows them to reveal intimate details about their lives and build a sense of trust. The performance convention can also be used for terrific comedic effect.

In “Deadpool” (2016), for example, the self-conscious narrator makes plenty of sarcastic comments to the audience, but most of them are too rude for this website. We are going to focus on the opening scene from “Ferris Bueller’s Day Off” (1986) instead:

Fading in from black, the establishing shot of the white-painted house locates the scene. Known as a J cut in film editing, we can hear the parents talking before the visual cut to the bedroom interior and a close-up of the protagonist. The use of continuity editing , including the shot-reverse-shot structure and eyeline matches, ensures the audience are aware of the space and what is happening in the sequence. The pacing is formal and traditional. The performances are perfect.

However, after 2.30 minutes, Matthew Broderick sits up and begins his famous monologue about “faking out parents” to skip school. It is wonderfully engaging. The use of text on the screen is another convention used by postmodernists to highlight the nature of film. There is also the very postmodernist concept of believing in yourself rather than an “-ism”.

Interestingly, acknowledging the very real dynamic between the audience and the actors can make the story less realistic because we are being pulled out of the narrative and back into our chairs.

Parodies draw our attention to particular styles and genres by exaggerating their codes and conventions. They might be caricatures poking fun at the rich and famous, such as the comedy sketches on “Saturday Night Live” which are often parodies of contemporary American culture and politics. Use a VPN if necessary and treat yourself to a couple of episodes on the official SNL website .

For a satirical look at life, especially politicians and ideology, you should check out “America’s finest news source” at theonion.com . Their humorous articles parody the conventions of traditional news organisations by taking really mundane events and presenting them as alarming.

In terms of films, according to imdb.com, “Airplane!” (1980) remains one of the most popular parodies:

The film is a spoof of “Zero Hour!” (1957) and other successful disaster flicks of the 1970s. It was produced by the same company as “Zero Hour!” so they were able to copy the plot and even lots of the original dialogue. In terms of copyright, US law allows parodies to make “fair use” of the original material.

Finally, “Weird Al” Yankovic who makes fun of pop culture with his parodies of famous songs. At over 154 million views, this is musician’s top result on YouTube:

Postmodernist Intertextuality

Some media producers take great pleasure in referencing other texts. You should read our guide to intertextuality for a more detailed explanation of the concept, but let’s consider one example in terms of postmodernism – the satirical “Last Action Hero” (1993).

This cult classic is yet another film within a film. In the following scene, Danny has been transported into the fictional world of his big-screen hero, Jack Slater, where he tries to convince the protagonist they are in a terrible action film:

There are plenty of Easter eggs for the audience to enjoy – the idea of Sylvester Stallone playing the iconic Terminator is fantastic. Meanwhile, Arnold Schwarzenegger plays the action hero, Jack Slater, and a parody of himself. In the dramatic climax, the fictional hero even gets to meet the Hollywood superstar. Of course, the blurring of reality and fiction is typical of postmodernism. If your would like to know more about the concept of simulation, you should read our introduction to Jean Baudrillard .

Non-linear Narratives

Another typical feature of postmodernist texts is their use of non-linear narratives where events are portrayed out of chronological order. This more than just flashbacks and exposition. Consider Quentin Tarantino’s “Pulp Fiction” (1994). The critically acclaimed film contains moments of self-reflexivity and lots of intertextuality. It also as an unconventional structure which follows three interrelated stories with different protagonists.

The film begins with an incredible duologue between Pumpkin and Honey Bunny who debate the pros and cons of armed robberies before taking the restaurant hostage.

After the sequence ends with a dramatic freeze frame and the opening credits roll, we shift to Vincent Vega and Jules Winnfield in their car who are discussing the cultural differences between America and Europe. After more temporal and spatial jumps, the film ends at the restaurant with the robbery where we started.

This fragmented quality emphasises randomness and coincidence by reducing the importance of causality where one beat of the story leads naturally to the next. The postmodernist focus on subjectivity is also clear in the use of different perspectives in the diner. There is no grand order in the universe – only our individual point of views.

I agree that a film should have a beginning, a middle and an end but not necessarily in that order. Jean-Luc Godard

Another famous example of a fragmented narrative is Christopher Nolan’s ambitious “Memento” (2001):

Suffering from short-term amnesia and the ability to form new memories, the protagonist, played by Guy Pearce, struggles to uncover the identity of his wife’s murderer. The audience are asked to follow two distinct sequences: a black-and-white chronological narrative and a series of colour scenes presented in reverse order. The two sequences meet at the end of the film with the inevitable twist we would expect from crime fiction.

Typical of a postmodernist text, “Memento” constantly questions the reliability of the truth.

Postmodernism and Pop Culture

Postmodernists reject cultural elitism and argue there is no difference between high art and pop culture. Think about the most revered painters whose vibrant and realistic studies hang on museum walls around the world. The following painting is Caravaggio’s “Basket of Fruit” from the late 1500s.

Its realism is incredible. The shrivelled and worm-eaten could connote the relentless transience of life and beauty – we are all destined to rot. The image might even be decoded as a commentary on the dwindling power of the church.

Now, compare the representation of the Caravaggio’s fruit to Andy Warhol’s “Campbell’s Soup”.  

The mundane soup tins are obvious signifiers of mass consumerism, but the artist collapses the distinction between highbrow art forms and manufactured goods. Both paintings are commendable or ridiculous – it just depends on your tastes and opinions. Everything is relative.

Some critics would argue the Academy Awards are elitist because they ignore commercially successful and popular films in favour of period pieces and gritty dramas. To counter the claims of snobbery. The Academy tried to introduce a new category for “outstanding achievement in popular film” in 2018 and an online vote for fans to pick their choice in 2022.

Postmodernism and Semiotics

In our series on semiotics , we looked at how words, or signs, have no inherent meaning. They gain their value because they are part of a language system. For instance, a word only begins to make sense when it is used in a sentence. Ferdinand de Saussure called this relationship the syntagm. There is also the concept of binary opposition where two words are defined by their contrasts.

In this way, language is self-reflexive because words reference each other for meaning.

Returning to the concept of subjectivity, we can use Stuart Hall’s reception theory to describe the postmodernist approach to understanding the media. Put simply, we decode messages according to our framework of knowledge. It’s all relative.

Further Reading

The Speaking-Circuit

Langue and Parole

Mode of Address

What is the Referent?

Studium and Punctum

Media Language Revision Questions

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The Key to Campbell Soup’s Turnaround? Civility.

• Christine Porath
• Douglas R. Conant

When employees felt respected and listened to, engagement surged.

The best way to truly win the hearts and minds of people, and generate huge returns for your organization and its stakeholders, is by leading with civility. This means spending a  considerable  amount of effort acknowledging people’s contributions, listening better, respecting others’ time, and making people feel valued. Research has shown that prioritizing civility can lead to big payoffs. It increases performance and creativity; allows for early mistake detection and the initiative to take corrective action; and reduces emotional exhaustion. Most of all, it makes employees feel respected. Yet the majority of people polled report that they don’t regularly receive the respect they seek. Whatever your leadership role in your company, you can begin to close the respect gap by infusing more respectful behaviors into your work. A turnaround at Campbell Soup Company shows three things leaders can do to be successful: set expectations, identify practices to bring those expectations to life, and then measure and reinforce your civility initiative.

Based on our combined experience and research – Doug as the former CEO of Campbell Soup Company and Christine as professor who has researched leadership for 20 years – we’ve observed that the best way to truly win the hearts and minds of people, and generate huge returns for your organization and its stakeholders, is by leading with civility. This means spending a considerable amount of effort acknowledging people’s contributions, listening better, respecting others’ time, and making people feel valued.

• Christine Porath is a professor of management at Georgetown University and a consultant who helps leading organizations create thriving workplaces. She is the author of Mastering Community: The Surprising Ways Coming Together Moves Us from Surviving to Thriving and Mastering Civility: A Manifesto for the Workplace , and a coauthor of The Cost of Bad Behavior .
• DC Douglas R. Conant is Founder & CEO, ConantLeadership ; Chairman, CECP; Chairman, Kellogg Executive Leadership Institute; Member, Board of Directors, AmerisourceBergen; Former CEO, Campbell Soup Company; Former Chairman, Avon; and NYT Bestselling Author of Touchpoints: Creating Powerful Leadership Connections in the Smallest of Moments . He’s on Twitter @DougConant and on Facebook.

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Postmodernism: The Architectural Response to the Crisis of Modernity

In the late 1960s and early 1970s, postmodern architecture emerged as a response to modernist architecture’s perceived flaws. Though logical design was supposed to usher in a better world, modernist architecture has left us with cold, impersonal structures that lack a sense of location or cultural identity. The idea that form should come second to function was rejected by postmodern architects, who instead emphasized the importance of context, history, and culture in architectural design.

Key Features 

The modernist notion that form should come after function is rejected in postmodern architecture. Rather, the relevance of environment, culture, and history in architectural design was highlighted by postmodern architects. Postmodern architecture is characterized by its emphasis on symbolism and meaning, use of adornment, and historical allusions.

Examining back from 2023, the contentious discussions around 1980s modern and post-modern architecture may seem like a pointless exercise in stylistic categorization. However, architectural history is a relationship that is developed over time by each generation in turn by examining the materials of the past from the viewpoint of the present. Postmodern architects welcomed classical architecture and combined it with modern features to create completely new structures, in contrast to modern architects who eschewed the ornamentation of older architectural forms. Postmodern architecture is distinguished by its irreverent fun, intricacy, and whimsicality.

• Historical Significance

One of the most distinctive aspects of postmodern architecture is the utilization of historical allusions. In contrast to the modernist tendency of ignoring the past, postmodern architects sought to inspire their architectural designs by embracing history. Gothic arches, Art Deco details, or classical columns are just a few examples of how postmodern architecture may reference the past. In postmodern architecture, historic references are more than just an emotional touch. Rather, postmodern architects use historic allusions to connect with the local cultural history and to create a sense of continuity with the past. Postmodern architects frequently use historical references into their designs in order to create structures that are both useful and meaningful.

2. Ornamentation

Another crucial element of postmodern architecture is ornamentation. Modernist architects preferred simple, uncomplicated designs above ornamentation, seeing it as redundant and useless. Postmodern architects, on the other hand, saw embellishment as a way to draw attention to the richness and depth of architectural design. Beautiful metalwork and ornate mouldings are just two instances of decoration seen in postmodern architecture. Postmodern architects frequently use ornamental elements to engage with their environment and give their designs a vibrant, fun atmosphere.

3. Symbolism

Another area that postmodern architects focused on was the importance of symbolism and meaning in architectural design. They believed that buildings should have symbolic and cultural significance in addition to being useful structures. Postmodern architects regularly included symbolism and meaning into their designs in order to create buildings that were both expressive and fascinating, as well as reflecting the beliefs and aspirations of the people they served. Symbolism and meaning can take many different forms in postmodern architecture. A building might be designed to resemble a flower, for example, to represent growth and rebirth. Alternatively, a structure could make use of a cultural allusion, such a sculpture or picture, to evoke a sense of place and pride in the neighborhood.

4. Contradiction

Postmodernism, which took inspiration from a wide range of cultures and design elements to create work that had never been seen before, was a contradiction of all the movements that came before it. It was a direct response to the stifling techniques of modern design, including geometric shapes and simplistic design. Designer Michael Graves combined elements of several styles to create the Humana Building in Louisville , Kentucky, which promotes progressive design principles and makes a statement about historical preservation.

During the postmodern era, especially in the United States, humor and camp, a sarcastic trend of flamboyant art that was seen beautiful, were used interchangeably. Furthermore, although the postmodern movement started out as a protest against modernism’s rigidity, camp postmodern art elevated that protest to new heights. Theatrical structures were renowned for their use of excess and humor. One such example is Hotel Dolphin (1987) at the Walt Disney World Resort in Orlando, Florida. Camp architects pushed the boundaries of what a building may look like in order to promote innovation in new building and design while also challenging formality.

6. Fragmentation

Postmodern architects were renowned for their ability to construct disjointed structures that, although still functioning as a single structure, had the impression of multiple distinct structures with varied purposes. The Guggenheim Museum Bilbao is a perfect example of this, since the medium used to make this piece—titanium—changes color in response to ambient light. This gave the building fresh life depending on the time of day it is viewed, giving it a completely different look in the daytime than it does at night.

Influence on Modern Architecture

Regarding architectural ideas and more general cultural trends, postmodern architecture had a significant influence on contemporary architecture. Postmodernism cleared the path for a more varied and eclectic approach to architectural design by challenging the prevailing modernist paradigm in the field. The postmodern architectural movement’s emphasis on history and context is one of its main legacies. Postmodern architects demonstrated that structures might serve both practical and cultural purposes and that local factors should be considered when designing buildings.

Modern architects are still influenced by this history as they work to design structures that are more sensitive to the cultural and environmental environments in which they are situated. The emphasis on meaning and symbolism in postmodern architecture is another of its legacies. Postmodern architects showed that architectural design could have a significant impact on influencing the cultural environment and that structures may be potent representations of a community’s values and cultural identity.  Modern architects are nevertheless motivated by this legacy to design structures that are not just practical but also expressive and culturally meaningful.

Its Significance

Primarily, postmodernism turns into a means of subverting conventions: an avant-garde approach that presents the peculiar and unusual in opposition to the dominance of the ordinary. According to this perspective, being postmodern is the ethos of challenging the unsatisfactory conditions of the present without rejecting the existence of the past or the comprehension of the new cultural conditions and technological advancements of the present. It does not imply belonging to a new age or referring to a specific style.

References:

• Ghisleni, C. (2021, July 14). What is postmodernism? ArchDaily. https://www.archdaily.com/964625/what-is-postmodernism  
• 1980 In Parallax: Provincialising Post-Modern Architecture – Jencks Foundation . (n.d.). https://www.jencksfoundation.org/explore/text/provincialising-post-modern-architecture  

Kimaya is an architect based in Mumbai. Her interests lie in contributing to social justice and making cities more habitable. Her research interests include public and urban policy, urban inequities, and mobility. She enjoys observing and writing about cities and their complexities.

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Media Essentials

Psychology in Everyday Life

Fifth edition | ©2020 richard campbell; christopher martin; bettina fabos; shawn harmsen, how can macmillan learning help you transition to online teaching we have webinars, trainings, and documentation by experienced instructors and product specialists to help you. learn more  →.

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ISBN:9781319208172

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The most pivotal aspects of mass communication—at just the right price.

A concise and affordable resource for the mass communication course, Media Essentials provides a flexible, informative, and relevant breakdown of what the media is, how it works, and how it impacts today’s most talked-about subjects. From #metoo to content streaming to social media and politics, students learn how a wide variety of recent developments have impacted the mass-media landscape—and how past innovation and change have informed our current media world. Media Essentials is available with LaunchPad, a robust online platform designed to help students fully engage with course content—and with the world of mass media. From our acclaimed LearningCurve adaptive quizzing, which helps students learn and retain concepts, to compelling features like an interactive e-book and a variety of entertaining and thought-provoking video clips, LaunchPad gets students connected with—and interested in—the information they need to succeed in class.

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Fifth Edition | ©2020

Richard Campbell; Christopher Martin; Bettina Fabos; Shawn Harmsen

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Fifth Edition | 2020

Table of Contents

Richard Campbell

Richard Campbell is professor emeritus and founding chair of the Department of Media, Journalism, and Film at Miami University, as well as the 2019 recipient of the university’s Benjamin Harrison Medallion for his “Outstanding Contribution to the Education of the Nation.” Campbell is the author of “60 Minutes” and the News: A Mythology for Middle America (1991) and coauthor of Cracked Coverage: Television News, the Anti-Cocaine Crusade, and the Reagan Legacy (1994). He has written for numerous publications, including Columbia Journalism Review , Critical Studies in Mass Communication , and TV Quarterly . Campbell is cocreator of Stats+Stories , a long-running podcast sponsored by Miami University and the American Statistical Association, and winner of the 2021 Communication Award from the Mathematical Association of America. His other projects include the digital Oxford Observer newspaper and Report for Ohio, initiatives aimed at getting more young journalists real-world experience covering under-reported areas in rural and urban communities. He is executive producer of a 2019 documentary on the role that Oxford, Ohio, played in 1964’s Freedom Summer, titled Training for Freedom: How Ordinary People in an Unusual Time and Unlikely Place Made Extraordinary History . He served for ten years on the board of directors for Cincinnati Public Radio and holds a PhD from Northwestern University.

Christopher Martin

Christopher R. Martin is a professor of digital journalism and former department head of the Department of Communication and Media at the University of Northern Iowa. He is author of two award-winning books on labor and the media: No Longer Newsworthy: How the Mainstream Media Abandoned the Working Class and Framed! Labor and the Corporate Media , both with Cornell University Press. He has written articles, book chapters, and reviews on journalism, televised sports, the Internet, and labor for several publications, including Communication Research , Journal of Communication , Journal of Communication Inquiry , Labor Studies Journal, Culture, Sport, and Society , NiemanReports , and Perspectives on Politics . He is also on the editorial board of the Journal of Communication Inquiry . He is a contributing scholar to the Center for Journalism & Liberty and a regular contributor to Working-Class Perspectives . Martin holds a Ph.D. from the University of Michigan and has also taught at Miami University.

Shawn Harmsen

Fifth Edition | 2020

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