Cognitive Film and Media Ethics provides a grounding in the use of cognitive science to address key questions in film, television and screen media ethics. This book extends past works in cognitive media studies to answer normative and ethically prescriptive questions: what could make media morally good or bad, and what, then, are the respective responsibilities of media producers and consumers? Moss-Wellington makes a primary claim that normative propositions are a kind of rigour, in that they force media theorists to draw more active ought conclusions from descriptive is arguments. Cognitive Film and Media Ethics presents the rigours of normative reasoning, cognitive science and consequentialist ethics as complementary, arguing that each seeks progressive elaboration on their own models of causality, and causal projections are crucial for any reflection on our moral responsibilities in the world. A hermeneutics of "ethical cognitivism" is applied in the latter half of the book, with essays each addressing a different case study in film, television, news and social media: cinema that sets out to inspire moral dissonance in the viewer, satirical and humorous depictions of family drama in film and television, the politics of the romantic comedy, formal aspects of screen media bullying in an era dubbed the "television renaissance," and contemporary problems in the conflation of news and social media. Cognitive Film and Media Ethics synthesises current research in social psychology, anthropology, memory studies, emotion and cognition, personality and media selection, and evolutionary biology, integrating wide-ranging concepts from the various disciplines that make up cognitive theory to provide new vantages on the applied ethics of film and screen media.

“The play’s the thing wherein I’ll catch the conscience of the king...” Shakespeare was repeating what the ancient Greeks had pioneered—if you want to tell a moral lesson and have it remembered, then make it entertaining. Chad Painter and Lee Wilkins explore how popular culture explains media ethics and the philosophy that is key to solid ethical thinking. Each chapter focuses on a key ethical concept, anchors the discussion of that concept in a contemporary or classic accessible film, analyzes decisions made in that film with other popular culture artifacts, and grounds the analysis in appropriate philosophical thought. The book focuses on core philosophical concepts of media ethics—truth telling, loyalty, privacy, public service, media economics, social justice, advocacy, and accountability—as they are examined through the lens of narrative film, television, and music. Discussion questions and online instructor materials further course applicability while the popular culture examples make ethical theory accessible and exciting for students and professors from a variety of academic backgrounds.

Certain films seem to encapsulate perfectly the often abstract ethical situations that confront the media, from truth-telling and sensationalism to corporate control and social responsibility. Using these movies—including Ace in the Hole, All the President's Men, Network, and Twelve Angry Men—as texts, authors Howard Good and Michael Dillon demonstrate that, when properly framed and contextualized, movies can be a powerful lens through which to examine media practices. Moreover, cinema can present human moral conduct for evaluation and analysis more effectively than a traditional case study can. By presenting ethical dilemmas and theories within a dramatic framework, Media Ethics Goes to the Movies offers a unique perspective on what it means for media professionals to be both technically competent and morally informed.

Trends prevailing in the media suggest a seemingly disintegrating concept of media ethics. It is no surprise; being ethical is hard work and, could very well put a person in conflict with prevailing trends. Many of the people cited within the 13 essays of Desperately Seeking Ethics illustrate this_from Socrates and Martin Luther King Jr., who both died for their principles, to reporter David Kidwell of the Miami Herald who chose jail over testifying for the prosecution in a murder trial. This is not just another media ethics book. Engaging and non-conventional it breaks away from the usual text practice of presenting the ethical theories of well-known philosophers in watered-down form. Instead, the contributors, all of whom teach media ethics, select a poem, movie, song, speech, or other cultural document, analyze it for implied or explicit ethical lessons, and then apply the lessons of that work to a specific case that involved controversial media conduct. In addition to endnotes, each chapter contains questions for discussion and a list of further readings. Where possible, the contributors have included all or part of the poems, speeches, and other documents they analyze as sources of ethical instruction and inspiration.

This book is primarily intended as a textbook for university students. Its main aim is to help students become better and more ethical professionals by discussing in depth the main ethical challenges that arise in the media professions. The material offered is grounded in the rich international literature on the subject it addresses, but at the same time it build on the experience of Nigerian and other African professionals in order to address the concrete issues which they have to face. The book covers both the ethical issues posed by the issues posed by

Media Ethics: Key Principles for Responsible Practice makes ethics accessible and applicable to media practice, and explains key ethical principles and their application in print and broadcast journalism, public relations, advertising, marketing, and digital media. Unlike application-oriented casebooks, this text sets forth the philosophical underpinnings of key principles and explains how each should guide responsible media behavior. Author Patrick Lee Plaisance synthesizes classical and contemporary ethics in an accessible way to help students ask the right questions and develop their critical reasoning skills, as both media consumers and media professionals of the future. The Second Edition includes new examples and case studies, expanded coverage of digital media, and two new chapters that distinguish the three major frameworks of media ethics and explore the discipline across new media platforms, including blogs, new forms of digital journalism, and social networking sites.

Think/Point/Shoot gives students a thorough overview of the role of ethics in modern media creation. Case studies emphasize the critical issues in global media ethics today in all stages of media creation from preproduction research and development, to production and post production. This volume features practicing filmmakers, journalists, and media creators who provide insight into dealing with real-world ethical dilemmas. For this era, digital imagery, sounds, and web communication have opened doors to sharing thoughts and ideas instantaneously to potentially vast audiences. This presents exciting opportunities, but also serious ethical, legal, and social challenges. The cases and exercises found in this book are applicable to the current media field while still remaining grounded in strong ethical theory. Think/Point/Shoot explains the challenge of communicating a story to a worldwide audience while maintaining ethical standards. A companion website provides additional resources for students and instructors: media ethics game chapter summaries and case studies important forms Instructors will also find: classroom exercises PowerPoints video from the "Global Media Ethics" Conference from March 2013