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 265  Notes Introduction 1.Richard A. Matré, “The Chicago Press and Imperialism, 1899–1902” (Ph.D. diss., Northwestern University, 1961), 20. 2.Scholars have begun to explore the mediating role of visual and popular culture surrounding the Spanish-American War. See Janet M. Davis, The Circus Age: Culture and Society under the American Big Top (Chapel Hill: University of North Carolina Press, 2002), 192–226; Raymond B. Craib and D. Graham Burnett, “Insular Visions: Cartographic Imagery and the Spanish -American War,” Historian 61.1 (Fall 1998): 100–118; Jill DeTemple, “Singing the Maine: The Popular Image of Cuba in Sheet Music of the Spanish -American War,” Historian 63 (Summer 2001): 715–29; Kristen Whissel, “The Gender of Empire: American Modernity, Masculinity, and Edison’s War Actualities,” in A Feminist Reader in Early Cinema, ed. Jennifer M. Bean and Diana Negra (Durham: Duke University Press, 2002), 141–65; Kristen Whissel , “Placing the Spectator on the Scene of History: The Battle Re-enactment at the Turn of the Century, from Buffalo Bill’s Wild West to the Early Cinema ,” Historical Journal of Film, Radio and Television 22 (2002): 225–43; Christine Bold, “The Rough Riders at Home and Abroad: Cody, Roosevelt, Remington and the Imperialist Hero,” Canadian Review of American Studies 18.3 (Fall 1987): 321–50. The most all-inclusive work on Spanish-American War–related media is James Castonguay’s Web site “The Spanish-American War in U.S. Media Culture,” http://chnm.gmu.edu/aq/war/index.html. 3.I focus primarily on mainstream, mass-circulation papers because they had the resources to afford the production of visual representations. See the appendix for a complete list of the newspapers and periodicals in my sample. 4.It is my hope that this book will spawn further study into how minority groups in the United States, such as the Spanish, Cuban, or Filipino American communities, or media producers from the colonies themselves co-opted, reframed, or challenged the mainstream media representations outlined here. I have written elsewhere on the representations of the Spanish-American War from the perspective of the Spanish press; see Bonnie Goldenberg, “Imperial Culture and National Conscience: The Role of the Press in the United States and Spain during the Crisis of 1898,” Bulletin of Hispanic Studies 77 (2000): 169–91. Scholars who have worked on cultural production in the colonies include Clodualdo del Mundo Jr., Native Resistance: Philippine Cinema and 266  Colonialism, 1898–1941 (Manila: De La Salle University Press, 1998), and Vicente L. Rafael, White Love and Other Events in Filipino History (Durham : Duke University Press, 2000). 5.Pamela J. Shoemaker and Stephen D. Reese, Mediating the Message: Theories of Influence on Mass Media Content (New York: Longman, 1991), 186. On media framing and agenda-setting research, see also Stuart Hall, Chas Critcher, Tony Jefferson, John Clarke, and Brian Roberts, Policing the Crisis: Mugging, the State, and Law and Order (New York: Holmes & Meier Publishers , 1978), 60–62; Walter Lippman, Public Opinion (1922; repr., Sioux Falls, S.D.: NuVision Publications, 2007), 203–4; Todd Gitlin, The Whole World Is Watching: Mass Media in the Making and Unmaking of the New Left (Berkeley: University of California Press, 1980); Doris A. Graber, Processing the News: How People Tame the Information Tide, 2nd ed. (New York: Longman, 1988); Dietram A. Scheufele, “Framing as a Theory of Media Effects,” Journal of Communication 49.1 (1999): 103–22; David L. Protess and Maxwell McCombs, eds., Agenda Setting: Readings on Media, Public Opinion, and Policymaking (Hillsdale, N.J.: Lawrence Erlbaum Associates , 1991); Maxwell E. McCombs and Donald L. Shaw, “The Evolution of Agenda-Setting Research: Twenty-five Years in the Marketplace of Ideas,” Journal of Communication 43.2 (Spring 1993): 58–67; Donald L. Shaw and Shannon E. Martin, “The Function of Mass Media Agenda Setting,” Journalism Quarterly 69.4 (Winter 1992): 902–20. 6.Of the 75 million people living in the United States at the time, many had different kinds of social relationships to the war. Some noncombatants were directly involved, whether as volunteers, government workers, or families and friends of servicemen, while others had ethnic ties or financial or other interests abroad, further individualizing the experience of the war and its media production. There is a vast literature on reader reception. A few key texts include Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Carolina Press, 1984); Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture (New York: Routledge, 1992); Linda Williams, ed...

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