Katz and Lazarsfeld’s two-step fl ow model of mass communication and personal infl uence
an inspection lens through which a single person
could view the endless loop of celluloid fi lm that
passed below it. It was driven by a small electric
motor and illuminated by an electric lamp.
Edison’s lasting contribution to cinematography
was his use of celluloid fi lm 35mm wide, with
four perforations for each picture. See cinema-
tography, origins.
‘Kite’ co-orientation approach See mcleod
and chaffey’s ‘kite’ model, 1973.
Knowns, unknowns In Deciding What’s News
(Pantheon, 1979), Herbert Gans says that those
who are famous in society, knowns, appear at
least four times more frequently in TV news
bulletins than do unknowns. Th e power elite
and celebrities generally tend to be both the
source and subject matter of news stories; and
by being so they further qualify themselves to
appear on the news as knowns. Gans states that
fewer than fi fty individuals regularly appear on
US news. It is not only the actions of knowns that
qualify as newsworthy, but also their speech. As
Allan Bell says in Th e Language of News Media
(Blackwell, 1991), ‘Talk is news only if the right
person is talking.’ Meanwhile the dominance
of the headlines by knowns, by the elite, leads
to other actors, other talk, being ignored. See
news values.
KPFA Radio In the US, the first listener-
supported independent radio station, founded
by Lewis Hill in 1949, broadcasting from Berke-
ley, California. Sister stations were later intro-
duced – KFPK in Los Angeles (1959) and WBA1
in New York (1960). Working under the umbrella
link of the Pacifi c Foundation, the outspoken-
ness of the stations proved a thorn in the side of
government and the establishment in America.
In 1970 KFPT went on air in Houston, Texas; it
was fi rebombed twice by the Ku Klux Klan, but
broadcasts continued. See radio: micropower
radio.
Kuleshov eff ect Lev Kuleshov (1899–1970) was
in at the sunrise of Russian cinema. He was fi lm
designer, fi lm-maker and fi lm theorist. In 1920
he was given a workshop to study fi lm methods
with a group of students. His Kuleshov eff ect,
demonstrated in 1922, proved how, by altering
the juxtaposition of fi lm images, their signifi -
cance for the audience could be changed.
In 1929 he wrote, ‘The content of the shot
in itself is not so important as the joining of
two shots of diff erent content and the method
of their connection and their alternation.’ An
experiment, aimed at proving his theory, showed
a close-up of an actor playing a prisoner. Th is
is linked to two different shots representingreport are of the same subject, taken from the
same angle and distance, the ‘jump cut’ is to be
avoided; to get round this ‘jump’ from one shot
to another that is virtually the same – usually
of someone being interviewed – a ‘cutaway’
shot is inserted, that is a reaction shot from the
interviewer.K
Katz and Lazarsfeld’s two-step fl ow model
of mass communication and personal
infl uence See one-step, two-step, multi-
step flow models of communication.
Kepplinger and Habermeier’s Events Typol-
ogy See event.
Kernal and satellite See narrative: kernal
and satellite.
Kindle See e-book.
Kineme A segment or fraction of a whole
communicative gesture; a kinetic parallel to a
phoneme (element of verbal language). Th e term
was invented by Ray Birdwhistell. In Kinesics and
Context (University of Philadelphia, 1970), Bird-
whistell draws up a vocabulary of sixty kinemes
which he found in the gestural/postural/expres-
sive movements of American subjects. He main-
tains that these kinemes combine to form large
units (kinemorphs) on the analogy of morphemes
(or words). An example would be waving a fi st or
prodding the air with a fi nger while at the same
time smiling or looking angry. See kinesics.
Kinesics Th e study of communication through
gesture, posture and body movement. In
Communication (Open University, Block 3,
Units 7–10, 1975), the OU course team loosely
classify kinesics under fi ve headings: (1) informa-
tion (indicating, for example, welcome or ‘keep
away’); (2) communication markers (head and
body movements to give emphasis to a spoken
message); (3) emotional state (as expression of
feeling); (4) expression of self (in the way you sit
or walk or hold yourself ); and (5) expression of
relationship (revealing attitude to others by how
close you stand to someone, how you angle, tilt,
shift your body in relationship to others or by the
way hair or clothes are touched, a tie adjusted).
See communication, non-verbal; non-
verbal behaviour: repertoire; proxemics;
touch.
Kinetoscope Early form of film projection
invented in 1887 by Th omas Alva Edison (1847–
1931) and his assistant K.L. Dickson. On 14 April
1894, the fi rst ‘Kinetoscope Parlor’ was opened
on Broadway, New York. Th e Kinetoscope was
a wooden cabinet furnished with a peep-slit and