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By Raymond Gamache

This e-book lines the improvement and recognition of the sportscast highlight--the dominant information body within the crowded medium of digital activities journalism--as the first technique of speaking approximately activities and athletes. It explores the difficult relationships between media manufacturers, activities leagues and businesses, and audiences, and explains that sportscast highlights will not be a up to date improvement, given their favorite use inside a information context in each medium from early information movie actualities and newsreels to community and cable tv to state-of-the-art new media structures.

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Additional info for A History of Sports Highlights: Replayed Plays from Edison to ESPN

Sample text

Unlike its predecessor, this release did not engender calls for legislation and censorship. Rather, by the dawn of the twentieth century, editorial control became an area of contention between manufacturers and exhibitors. The Edison Company had assumed greater editorial control in the production and marketing of its films. 66 The same process was employed for America’s Cup races, filmed in early October 1901, as they had been in 1899. The America’s Cup yacht races between “Columbia” and “Shamrock I” in 1899 and between “Columbia” and “Shamrock II” in 1901, the latter owned by Sir Thomas Lipton, drew considerable newspaper coverage.

Even before the film was made available for the public, Stuart screened the film for the New York press, generating considerable publicity about the film’s content rather than the technology. As such, each of the fighters made claims about what camera showed. In this regard, the company’s name, Veriscope or truth-viewer, proved beneficial in playing on the controversies stemming from the fight’s outcome. ”54 The possibility that the camera could prove whether or not Fitzsimmons had been down for a ten-count in the sixth round and whether or not Corbett had been fouled in the decisive fourteenth round added to the film’s attraction.

The film, with a running time of almost two hours, was soon offered as a stand-alone feature in many large theaters of major urban centers. As a representation of an actual event, the film was both legally and socially acceptable viewing material for an audience that cut across cultural and economic lines. In Chicago, where the film 1. Knockout Rounds and Rounding Marks 35 enjoyed an initial run of nine weeks, admission ranged from 25 cents for a gallery seat to one dollar for the orchestra. As such, the theater seat served as a replacement for the ringside seat, creating an alternate way of spectating this sport.

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