By Raymond Gamache

This booklet strains the advance 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 problematic relationships between media manufacturers, activities leagues and businesses, and audiences, and explains that sportscast highlights usually are not a up to date improvement, given their famous use inside a information context in each medium from early information movie actualities and newsreels to community and cable tv to cutting-edge new media structures.

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

Example text

17 The Times Democrat noted that New Orleans was packed “with visitors of all classes, from the millionaire to the baker to the fakir. ”19 On top of the Pulitzer Building in New York, a red beacon was poised to signal when the fight went Sullivan’s way or a white one for Corbett. The national information network of telegraph, telephone and newspaper communication provided instantaneous results of the fight. Not only did Corbett’s victory signal a change in the titleholder, it also ushered boxing out of a saloon-centered, gambler-controlled subculture and into the larger modern landscape of big business, mass media, and capitalist ideologies.

Kinetoscopes would disappear from the American scene by the turn of the century. When the Vitascope debuted on April 23, 1896, showing six films at Koster & Bial’s Music Hall on Thirty-Fourth Street and Broadway, it initiated a new phase in entertainment culture. In addition to the continuous band of 50-foot or 150-foot films spliced together and shown repeatedly, the 32 A HISTORY OF SPORTS HIGHLIGHTS Music Hall band provided accompaniment to the projected images. The representation of real scenes produced a heightened sense of realism.

When Jeffries and Sharkey met in a heavyweight championship fight of 25 rounds on November 3, 1899, at the Coney Island Sporting Club, the lighting issue had been resolved from a technical standpoint. Despite shooting more than seven miles of footage on the largest film stock, two inches by two-and-three-quarter inches, Biograph’s production team encountered different problems. Some were self-inflicted and others “surreptitiously” imposed. The 350 miniature arc lights needed to illuminate the ring for Biograph’s cameras almost roasted the fighters.

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