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The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF JOURNALISM STORIES FROM THE FRONT LINES: FEMALE FOREIGN CORRESPONDENTS IN WAR ZONES JENNIFER CONNOR SUMMER 2011 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Journalism with honors in Journalism. Reviewed and approved* by the following: Tony Barbieri Foster Professor of Writing and Editing Thesis Supervisor Martin Halstuk Associate Professor Honors Adviser * Signatures are on file in the Schreyer Honors College. ABSTRACT The purpose of this thesis is to examine the experience of women who cover war and conflict zones, with a special focus on those reporting in Iraq and Afghanistan. When western female war correspondents work in male-dominated cultures and situations of war, they encounter different challenges and advantages than male war correspondents. The level of danger associated with the assignments these women take on is evaluated in this thesis. Anecdotes from female war correspondents themselves, combined with outside analysis, reveal the types of situations unique to female war correspondents. More women choose to follow the story and witness history in the making by covering today‟s war and conflict zones. This trend parallels the greater presence of women in newsrooms, today. This thesis will shed light on what it means to be a female reporting on and working in dangerous conditions. i TABLE OF CONTENTS Part 1. Introduction……………………………………………………………………………....1 Part 2. Dealing with Danger……………………………………………………………………...6 -
It's What I Do Lynsey Addario
Datasheet of the exhibition It’s What I Do Lynsey Addario Associazione Culturale ONTHEMOVE DATASHEET OF EXHIBITION | Lynsey Addario - It’s What I Do 1 It’s What I Do Curater by Lynsey Addario Arianna Rinaldo Produced by Prints Associazione Culturale ONTHEMOVE Bottega Antonio Manta on the occasion of Cortona On The Move SP Systema International Photography Festival 2016 Frames Studio Rufus Associazione Culturale ONTHEMOVE | Località Vallone, 39/A/4 - Cortona, 52044 (AR) DATASHEET OF EXHIBITION | Lynsey Addario - It’s What I Do 2 It’s What I Do When I began contemplating the idea of showing Lynsey’s work in Cortona, I had never met her personally. Nonetheless she felt like someone close. Someone I could very easily be friends with and have a glass of wine talking about the last movie we saw. I had seen a few videos and interviews online featuring her relentless spirit, her uplifting attitude and restless photojournalistic mission. When I read her book, “It’s What I Do”, I felt even more interested in her work and her persona. She was a champion of focus, commitment and bravery paired with positive attitude and a very human heart. We also had some things in common. She is a freelance working mom, like me, more or less my age. We share friends on Facebook, and often read and “like” the same articles on photography and news. However, Lynsey, for me, is a heroine. She travels the world non-stop to be a witness to social injustice, war and humanitarian tragedies and many other neglected issues, giving voice to people and light to places, that are left in the shadow when the media frenzy fades. -
By Miriam Aronin [Intentionally Left Blank] JANUARY 12, 2010
JANUARY 12, 2010 by Miriam Aronin [Intentionally Left Blank] JANUARY 12, 2010 by Miriam Aronin Consultant: Robert Maguire Associate Professor of International Affairs and Director of the Haiti Program Trinity Washington University, Washington, D.C. Credits Cover and Title Page, © Mark Pearson/Alamy; TOC, © Winnipeg Free Press, Thursday, January 14, 2010/ Newspaper Archive; 4, © AP Images/Ramon Espinosa; 5, © Damon Winter/The New York Times/Redux; 6, © James Breeden/Pacific Coast News/Newscom; 7, © Rick Loomis/Los Angeles Times/MCT/Newscom; 8, © Patrick Farrell/Miami Herald/MCT/Newscom; 9, © AP Images/Rodrigo Abd; 10, © Jean-Paul Pelissier/ Reuters/Landov; 11, © Marco Dormino/UN/Minustah/Reuters/Landov; 12, © Lynsey Addario/New York Times/VII Photo Agency LLC; 13T, © U.S. Navy/Mass Communication Specialist 2nd Class Justin Stumberg; 13B, © U.S. Navy/Mass Communication Specialist 2nd Class Daniel Barker; 14, © AP Images/ Bebeto Matthews; 15, © Matthew Bigg/Reuters/Landov; 16L, © Pedro Portal/El Nuevo Herald/MCT/ Newscom; 16R, © Olivier Laban-Mattei/AFP/Newscom; 17, © AP Images/Ramon Espinosa; 18, © Talia Frenkel/American Red Cross; 19, © AP Images/Mark Davis/Hope for Haiti Now; 20, © AP Images/J. Pat Carter; 21, © AP Images/Ariana Cubillos; 22T, © Lui Kit Wong/The News Tribune; 22B, Courtesy of Pamela Bridge; 23T, Courtesy of the British Red Cross; 23B, Special thanks to Ashley Johnson, The Empowerment Academy #262, Baltimore Maryland; 24, © U.S. Navy/Logistics Specialist 1st Class Kelly Chastain; 25, © Pasqual Gorriz/United Nations Photos/AFP/Newscom; 26T, © Hans Deryk/Reuters/Landov; 26BL, © Hazel Trice Edney/NPPA; 26BR, © Lexey Swall/Naples Daily News; 27, © Michael Laughlin/Sun Sentinel/MCT/ Newscom; 28T, © AP Images/Ramon Espinosa; 28B, © AP Images/J. -
The Rise Andfall Ofa Proper Negro
the Rise andFall ofa Proper Negro an autobiography by Leslie Alexander Lacy PUBLISHED BY POCKET BOOKS NEW YORK Grateful acknowledgment is made for permission to reprint the following: lines from "New York," "You Held the Black Face," and "Be Not Amazed," by L6opold Senghor, from Modern Poetry - from Africa, edited by Gerald Moore and Ulli Beier, Penguin Books, . Inc., Baltimore, copyright © 1963 by Gerald Moore and Ulli Beier; lines from "The Black Glassmaker," by Jean-Joseph Rab6arivelo, originally in 1'Anthologie de la nouvelle poesie nPgre et malgache, Presses Universitaires de France, Paris (translation from Modern Poetry from Africa); and lines from "Your Pres- ence," by David Diop, originally in Coups de piton, Pr6sence . Africaine, Paris (translation from Modern Poetry from Africa). THE RISE AND FALL OF A PROPER NEGRO Macmillan edition published May, 1970 POCKET BOOK edition published December, 1971 0 This POCKET BOOK edition includes every word contained in the original, higher-priced edition. It is printed from brand-new plates made from completely reset, clear, easy-tc-read type. POCKET BOOK editions are published by POCKET BOOKS, a division of Simon & Schuster, Inc., 630 Fifth Avenue, New York, N.Y . 10020. Trademarks registered in the United States and other countries. L Standard Book Number : 671-78105-7. Library of Congress Catalog Card Number : 71-95302 . Copyright, ©, 1970, by Leslie Alexander Lacy. All rights reserved . This POCKET BOOK edition is published by arrangement with The Macmillan Company. Printed in the U.S .A. For my father. Now only a memory. But what a man! A special brand of humanity: A good and honest soul And such strong hands- Yet gentle like the touch of children. -
OPC, Coalition Sign Pact to Boost Freelancer Safety
THE MONTHLY NEWSLETTER OF THE OVERSEAS PRESS CLUB OF AMERICA, NEW YORK, NY • February 2015 OPC, Coalition Sign Pact to Boost Freelancer Safety By Emma Daly and the freelancers who Diane Foley, mother of the late are assuming an ever- freelance reporter James Foley, was greater burden in cover- guest of honor at a panel discussion ing dangerous stories, to launch “A Call for Global Safety the panelists see these Principles and Practices,” the first principles as a first step industry code of conduct to include toward greater responsi- media companies and freelancers bility and accountability in an attempt to reduce the risks to by both reporters on the those covering hazardous stories. ground and their editors. The guidelines were presented to an “I am deeply proud Rhon G. Flatts audience of journalists and students of the OPC and the OPC David Rohde of Reuters, left, and Marcus Mabry during two panel discussions held at Foundation’s part in this speak to students and media about a the Columbia University School of long overdue effort,” new industry code of conduct. Journalism’s Stabile Student Center Mabry said. Shehda Abu Afash in Gaza. on Feb. 12 and introduced by Dean Sennott flagged the horrific mur- By the launch on Thursday al- Steve Coll. der of Jim Foley as a crucial moment most 30 news and journalism orga- The first panel – David Rohde in focusing all our minds on the need nizations had signed on to the prin- of Reuters, OPC President Marcus to improve safety standards, despite ciples, including the OPC and OPC Mabry, Vaughan Smith of the Front- efforts over the past couple of de- Foundation, AFP, the AP, the BBC, line Freelance Register, John Dan- cades to introduce hostile environ- Global Post Guardian News and Me- iszewiski from the AP and Charlie ment and medical training, as well dia, PBS FRONTLINE and Thom- Sennott of the Ground Truth Project as protective equipment and more af- son Reuters. -
«It's a Calling»
Ringier Management Conference: Finding inspiration in first-rate speakers DMO The Energy cosmos Programmed In-house journal for success June 2015 American war photographer Lynsey Addario talks about her life and her job «It’s a calling» CONTENTS 4 «I’m grateful I’m still alive» American photographer Lynsey June edition Addario captures images of war, terror and hunger. While pregnant, she of DOMO as photographed children in Somalia; she was abducted, and she won a Pulitzer e-magazine Prize. Her faith in journalism is the stuff that movies are made of. Says star 4 12 director Steven Spielberg. 12 Inspiration in the mountains «Do something!» was the appeal at the Ringier Management Conference in Davos. The focus was on entrepreneur- ialism, change and global digitalization. 16 Focus on Ringier The best press photos of the last quarter from around the world. 18 Cool music and snappy patter Twelve years ago, Energy began broadcasting in Switzerland. Today the Energy cosmos encompasses radio stations in Zurich, Bern and Basel, a TV channel, Apps and top-notch events: a success story. 24 Inhouse Ringier Romandy leads the way: an online portal, a daily, a weekly and a women’s magazine are united in one newsroom. A brilliant balancing act! 26 Ringier meets the stars The man from the moon visits Switzerland, and DOMO author René Haenig rises to the occasion. The 4 upshot: Apollo-11 astronaut Buzz Aldrin is like «Star Trek» - only better. 28 Michael Ringier When power trumps fair competition, the bottom line is: The same rules apply to – almost – everyone. -
Educator Resource Guide Table of Contents
© JOEL SARTORE EDUCATOR RESOURCE GUIDE TABLE OF CONTENTS THE ANNENBERG SPACE FOR PHOTOGRAPHY 03 HISTORy • EXHIBITs • DeSIGN 04 FeATURES WITHIN THE SPACE THE CURRENT EXHIBIT: THE POWER OF PHOTOGRAPHY: NATIONAL geOGRAPHIC 125 YEARS 05 Age ReCOMMENDATION • OVERVIEW 06 BIOGRAPHIES OF THE FeATURED ARTISTS EDUCATOR ReSOURCE GUIDE 08 PRE-VISIT ACTIVITIES 14 EXHIBITION ACTIVITY 16 POST-VISIT REFLECTIVE QUESTIONS © 2009 JULIUS SHULMAN & JUERGEN NOGAI 18 ADDITIONAL RESOURCES FROM ANNENBERG LEARNER 23 PHOTO CREDITS 02 THE ANNENBERG SPACE FOR PHOTOGRAPHY HISTORY • EXHIBITS • DESIGN HISTORY The Annenberg Space for Photography opened to the public on March 27, 2009. It is the first solely photographic cultural destination in the Los Angeles area. The Photography Space is an initiative of the Annenberg Foundation and its board of directors. Its creation builds upon the Foundation’s long history of supporting visual arts. EXHIBITS The Annenberg Space for Photography does not maintain a permanent collection of photographs; instead, exhibitions change every four to six months. The content of each show varies and appeals to a wide variety of audiences. DESIGN The interior of the Space is influenced by the mechanics of a camera and its lens. The central, circular Digital Gallery is contained within the square building much as a convex lens is contained within a camera. The Digital Gallery’s ceiling features an iris-like design reminiscent of the aperture of a lens. The aperture design also enhances the Gallery’s acoustics. The Print Gallery curves around the Digital Gallery, representing the way film scrolls within a camera. The curvature of the ceiling line in the Print Gallery mimics the design of a film canister. -
The Future of Foreign Reporting
Montana Journalism Review Volume 1 Issue 40 Issue 40, 2011 Article 1 2011 Beyond Our Borders: The future of foreign reporting University of Montana--Missoula. School of Journalism Follow this and additional works at: https://scholarworks.umt.edu/mjr Part of the Journalism Studies Commons Let us know how access to this document benefits ou.y Recommended Citation School of Journalism, University of Montana--Missoula. (2011) "Beyond Our Borders: The future of foreign reporting," Montana Journalism Review: Vol. 1 : Iss. 40 , Article 1. Available at: https://scholarworks.umt.edu/mjr/vol1/iss40/1 This Full Issue is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Journalism Review by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. School of Journalism: Beyond Our Borders: The future of foreign reporting MONTANA M JOURNALISM RJ REVIEW BEYOND OUR BORDERS The future of foreign reporting THE UNIVERSITY OF MONTANA SCHOOL OF JOURNALISM VOL. 40, SUMMER 2011 Published by ScholarWorks at University of Montana, 2015 1 Montana Journalism Review, Vol. 1 [2015], Iss. 40, Art. 1 https://scholarworks.umt.edu/mjr/vol1/iss40/1 2 School of Journalism: Beyond Our Borders: The future of foreign reporting EDITOR’S NOTE In tribute to American photo- freelancing for Getty Images, and to two an unforgettable series detailing the journalist Chris Hondros, 41, who other extraordinary photojournalists, shooting of an Iraqi family by U.S. died in Misrata, Libya, on April 20 both British citizens, who ventured to troops. -
Engaging with Aftermath
Harn Museum of Art Educator Resource Engaging with Aftermath Image: Lynsey Addario, Waiting to be Transported, Syrian Refugee, Northern Iraq, August 21, 2013 Aftermath: The Fallout of War Exhibition Description Aftermath: The Fallout of War – America & the Middle East is an original exhibition curated by Carol McCusker, curator of photography at the Harn Museum of Art. The exhibition addresses the physical and emotional conditions of people caught in the wake of war, and reveals the impact of war on soldiers, civilians, cities, and the environment. It includes images from Iraq, Afghanistan, Libya’s Uprising, Syria’s Civil War, America’s home front and the on- going conflict between Israel and Palestine. Aftermath features twelve international artists who explore new territory in war coverage that combines rigorous journalism and fine art sensibilities. Nine of the artists are women, and six artists live in or originate from the Middle East. The exhibition also features three poets who write about the impact of war on people and the environment. Lynsey Addario, American born 1973 Educator Resource Waiting to be Transported, Syrian Refugee, Northern Iraq August 21, 2013 This resource unit is offered as a complement to the exhibition, Archival pigment print with the intention to support classroom investigation by K-12 On loan courtesy of the photographer educators and their students. Selected objects are presented with corresponding images, detailed background information, The young man pictured is a Syrian war refugee – one of thousands discussion questions and additional resources including lesson waiting to flee across the border into Iraq, from one war zone into plans. -
June 29, 1967
SDS • 16 06WMADIS0NCHICAS0ILL LET THE PEOPLE DECIDE JUNE 19. 1967 THE COMPUTERIZED CITY: Privacy Yields to Progress THE SYSTEMS EXPERTS opment Of knowledge which can be applied Judging by the New York Times report. STUDY NEW HAVEN, CONNECTICUT to control. New Haven officials view the newmethods As has been the case with a number of of gathering and displaying the measure• THE WAR New York Times Describes other newly developed American tech• ments of the city's social processes •First attempt to program an entire city* nologies, the first attempt to ^ly com• as an aid to doing their jobs better: puter guidance tothe mechanisms intended "The knowledge, for example, that a man GAME Peter Henig to control a human social process is to be was crippled could be stored away for found in Vietnam, In this case theproeess passible use by the Fire Department, a film by Peter Watkins Despite apprehension that has been control experts had to decide which of His application for welfare assistance ej^iressed about the development by the many possible measurements of Viet• could be automatically checked to see In the June issue of 'Movie Maker* Federal government of a computerized namese societywere significant indicators if he owned a car." (British amateur cine m^azine) editor data bank to store and make useable of Viet Cong (i.e., revolutionary) activity. The Mayor is quoted as saying: "We've Tcray Rose describes young (32) Peter information on the individual and collective The measurements (such as movements of got all this information scattered all over Watkins as fortunate in his many gifts: behavior of U, S, citizens, the nation's people and vehicles, level of food crops, the place now, so we can't use it. -
Lynsey Addario Watch
LYNSEY ADDARIO PHOTOJOURNALIST Lynsey Addario is a Pulitzer Prize–winning photographer who covers conflict zones across the Middle East, South Asia, and Africa. She is a regular contributor to National Geographic, The New York Times, and Time magazine. Addario began her professional career as a photographer in 1996 with little formal training. A few years later, in 2000, she first traveled to Afghanistan to document life under the Taliban regime. She has returned to Afghanistan numerous times and covered conflicts in Iraq, Lebanon, Darfur, the Democratic Republic of the Congo, and Libya, where she was among four New York Times journalists kidnapped in 2011. Most recently she has ©KURSAT BAYHAN-COURTESY OF PENGUIN PRESS BAYHAN-COURTESY ©KURSAT covered the Syrian refugee crisis, the ISIS advance in Iraq, the civil war in South Sudan, and the flow of African and Middle Eastern migrants into Sicily. Addario has been the recipient of numerous awards, including the MacArthur Fellowship “Genius” grant, the Overseas Press Club’s Oliver Rebbot award for her series “Veiled Rebellion: Afghan Women,” and was part of the New York Times team honored with the 2009 Pulitzer Prize for International Reporting “for its masterful, groundbreaking coverage of America’s deepening military and political challenges in Afghanistan and Pakistan.” In 2015, American Photo magazine named Addario as one of the five most influential photographers of the past 25 years, for changing the way we see world conflict. In 2016 Addario released a New York Times best-selling memoir, It’s What I Do, which chronicles her personal and professional life as a photojournalist coming of age in the post-9/11 world. -
Reservoir Proposal
An Associated Collegiate Press Pacemaker Award Winner • THE • Slicing and dicing up meals A preview of the upcoming of fun, baseball season, Bl B8 Non-Profit Org. 250 Student Center • University of Delaware • Newark, DE 19716 U.S. Postage Paid Thesday & Friday Newark, DE Permit No. 26 FREE Volume 127. Issue 31 www.rerinr.udel.edu Friday, February 16, 2()()1 ~ouncil appr~ves reservoir proposal BY LAURA CARNEY Councilwoman G:bristine Rewa, 6th Newark. Godwin said their customers based engineering firm, presented a City News Editor District, said residents' water bills pay approximately $320 per year. That slideshow Monday to portray the 'Phe Newark City Council voted would increase by 83 percent if the rate is roughly twice what Newark possible capacities of the reservoir. A unanimously Monday night on a project is approved. residents would be paying with the rate company spokesman suggested that a resolution to spend $18 million to build This increase breaks down to an extra increase, he said. 340-million-gallon· reservoir was needed a new water reservoir and iron-removal $20.64 eve.ry three months, assuming Rewa said many people already spend for Newark's purposes. plant. the average household consumption of a lot of money purchasing bottled water Joe Dombrowski, Newark water and The 300-million-gallon reservoir is water does not exceed 15,000 gallons at stores. wastewater director, said that a 1999 preliminarily scheduled to be per quarter. Council plans to bold a public plan proposed a 245- million-gallon constructed at the Koelig property on Newark Mayor Harold F .