JOUR 207: Writing and Reporting I 4 Units Course Is Taken in Conjunction with JOUR 321
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
How Subject Reactivity Influences Visual Journalism
MORE THAN MEETS THE EYE: HOW SUBJECT REACTIVITY INFLUENCES VISUAL JOURNALISM _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by T.J. THOMSON Dr. Keith Greenwood, Thesis Supervisor JULY 2015 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled MORE THAN MEETS THE EYE: HOW SUBJECT REACTIVITY INFLUENCES VISUAL JOURNALISM presented by T.J. THOMSON, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. Associate Professor Keith Greenwood Professor David Rees Assistant Professor Brian Kratzer Associate Professor Wayne Brekhus ACKNOWLEDGEMENTS I extend my heartfelt gratitude to Keith Greenwood, committee chair, who graciously answered questions, provided insightful feedback, and posed keen questions that allowed me to explore and refine my research interests and methodologies. Thanks to Brian Kratzer, committee member, who, in conjunction with my committee chair, allowed me to conduct a pilot study of this research at the Missourian during the spring 2015 semester, and who epitomizes patience. Thanks to David Rees, committee member, who exposed me to the photo elicitation methodology used in this research and whose love of life and humor brightened up countless interactions. Thanks to Wayne Brekhus, committee member, who wrote a book about identities that provided background for my research and who graciously agreed to meet with and serve on my committee. Thanks also to the dozens of students, colleagues, and fellow editors who helped form my research interests through discussion, interviews, and the candid sharing of their insight and experience. -
JOUR 321: Visual Journalism 2 Units
JOUR 321: Visual Journalism 2 Units Fall 2018 – Thursday 12:30 p.m. – 2:10 p.m. Section: 21171D Location: ANN 307 Instructor: David Matorin Office Hours: Thursdays, 2:10-3:10 p.m. and by arrangement. Contact Info: [email protected]; [email protected]; 917.710.1660 Course Description Students will gain an understanding of visual journalism through theory and practical application while exploring current and emerging story forms. Students will learn video for digital platforms, principles of photography, design for web and mobile platforms, and the roles each play in interactive and engaging storytelling. An emphasis will be placed on narrative, documentary-style video and visual stories for web and social media. Students also will learn elements of design related to typography, layout, engagement and user interface as they apply to journalistic story forms across platforms. Social media will also be an integral outlet for photo and video stories. In addition to providing you with skills necessary to produce journalistic multimedia stories, including videos and audio slideshows, we will also cover an introduction to principles of digital news design, interactivity and presentation. Ethical, legal and social issues affecting visual journalists will be discussed. We will take a practical, hands-on approach in this class. An introduction to photo, audio and video editing software will be provided. A modern mobile device or tablet device with a camera such as the iPhone 7 Plus or Samsung Galaxy S8, will be used as a primary content gathering device in the class. The device, mobile apps (shooting, editing and special purpose) and additional equipment are also major topics addressed during the course. -
Visual Journalism
SYLLABUS VISUAL JOURNALISM Instructor: Simon Waldman Contact Hours: 40 Language of Instruction: English LONDON, ENGLAND COURSE DESCRIPTION To misquote Mark Twain, reports of the death of TV journalism have been greatly exaggerated. But the landscape is changing with bewildering speed. The way we watch news has undergone a revolution in the past decade – a revolution that shows no sign of slowing down. And the way younger people get their news continues to challenge the world’s major broadcasters. But the essential principles that underpin the creation of high quality video journalism seem – so far - to have survived this upheaval. This course combines intensely practical sessions covering the skills and techniques necessary for producing broadcast standard visual journalism with discussion and debate on the shifting tectonic plates in the industry. Students will hear from – and be able to question - leading figures from major TV and online news organisations and they will have the opportunity to spend time in the TV News studios at the headquarters of the BBC. By the end of the course, they will have created their own TV programme. Each week, we will examine different aspects of the production of visual journalism and explore the changing nature of the medium. What are the ingredients needed for an attention- grabbing package? Does EVERY picture tell a story? What makes material shareable? How should journalists frame their questions to elicit the sound-bite answers they seek? How should each shot be framed to achieve the best results? What does the phrase “citizen journalist” really mean? And, now that everyone can put video material online, what will be the impact of the “citizen publisher”? Much of the material we create will use equipment that (almost) every student already owns: a mobile phone. -
Journalism (JRN) 1
Journalism (JRN) 1 Journalism (JRN) Courses JRN 1101. Elements of Writing. 2 Credit Hours. This course focuses on the fundamentals of style and language usage necessary for effective writing. Repeatability: This course may not be repeated for additional credits. JRN 1111. Journalism and Society. 3 Credit Hours. The purpose of this course is to acquaint students with concepts and functions of journalism and the related industries of advertising and public relations in American society. Students will gain knowledge about the history, economics and industry structure of these industries, focusing on how mass media content is determined and disseminated. We will explore underlying values associated with journalism, relationships between journalism and other social institutions, and current issues facing journalists. NOTE: (1) Departmental core course. Normally taken as the first Journalism course. A grade of C or higher is required in order to take higher-level Journalism courses. (2) This course can be used to satisfy the university Core Individual and Society (IN) requirement. Although it may be usable towards graduation as a major requirement or university elective, it cannot be used to satisfy any of the university GenEd requirements. See your advisor for further information. Course Attributes: IN Repeatability: This course may not be repeated for additional credits. JRN 1113. Audio/Visual Newsgathering. 3 Credit Hours. This course will present students with additional story-telling tools by introducing them to basic techniques of reporting with and editing sound and video. The emphasis of this course will be on the use of digital audio and video recorders in the field to produce news stories for radio, television and the web. -
Guide to Writing for High School Journalists
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1988 Guide to writing for high school journalists Janet Blank-Libra The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Blank-Libra, Janet, "Guide to writing for high school journalists" (1988). Graduate Student Theses, Dissertations, & Professional Papers. 7653. https://scholarworks.umt.edu/etd/7653 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 Th i s is a n unpublished m a n u s c r i p t in w h i c h c o p y r i g h t SUBSISTS. An y f u r t h e r r e p r i n t i n g o f i t s c o n t e n t s m u s t b e APPROVED BY THE AUTHOR. Ma n s f i e l d L i b r a r y Un i v e r s i t y o f Mo n t a n a Date :____ 1988_ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. -
Youtube Report Draft V4
MONDAY, JULY 16 YouTube & News A new kind of visual journalism FOR FUTHER INFORMATION: Tom Rosenstiel, Director, Pew Research Center’s Project for Excellence in Journalism Amy Mitchell, Deputy Director, Pew Research Center’s Project for Excellence in Journalism (202) 419-3650 1515 L St, N.W., Suite 700 Washington, D.C. 20036 www.journalism.org YouTube & News: A New Kind of Visual Journalism Introduction On March 11, 2011, an earthquake registering 9.0 on the Richter scale struck the coast of northeastern Japan, triggering a tsunami that would kill more than 18,000 people and leave an estimated $180 billion in damage. The news media worldwide provided extensive coverage of the disaster and its aftermath, but millions of people also turned to the web to learn about the event on the video sharing website YouTube. 1 In the seven days following the disaster (March 11-18), the 20 most viewed news-related videos on YouTube all focused on the tragedy—and were viewed more than 96 million times. What people saw in these videos also represented a new kind of visual journalism. Most of that footage was recorded by citizen eyewitnesses who found themselves caught in the tragedy. Some of that video was posted by the citizens themselves. Most of this citizen-footage, however, was posted by news organizations incorporating user-generated content into their news offerings. The most watched video of all was shot by what appeared to be fixed closed-circuit surveillance camera at the Sendai airport. Link: http://www.youtube.com/watch?v=-DSSssHxm4Y The disaster in Japan was hardly a unique case. -
The Data Journalism Handbook
THE DATA JOURNALISM HANDBOOK Towards a Critical Data Practice Edited by Liliana Bounegru and Jonathan Gray 1 Bounegru & Gray (eds.) The Data Journalism Handbook “This is a stellar collection that spans applied and scholarly perspectives on practices of data journalism, rich with insights into the work of making data tell stories.” − Kate Crawford, New York University + Microsoft Research New York; author of Atlas of AI “Researchers sometimes suffer from what I call journalist-envy. Journalists, after all, write well, meet deadlines, and don’t take decades to complete their research. But the journalistic landscape has changed in ways that scholars should heed. A new, dynamic field—data journalism—is flourishing, one that makes the boundaries between our fields less rigid and more interesting. This exciting new volume interrogates this important shift, offering journalists and researchers alike an engaging, critical introduction to this field. Spanning the globe, with an impressive variety of data and purposes, the essays demonstrate the promise and limits of this form of journalism, one that yields new investigative strategies, one that warrants analysis. Perhaps new forms of collaboration will also emerge, and envy can give way to more creative relations.” − Wendy Espeland, Northwestern University; co-author of Engines of Anxiety: Academic Rankings, Reputation, and Accountability “It is now established that data is entangled with politics and embedded in history and society. This bountiful book highlights the crucial role of data journalists -
A Single Organization Controls Almost Everything You See, Hear, and Read in the Media and They've Been Handpicking Your Leaders for Decades
by Matt Agorist January 29, 2018 from TheFreeThoughtProject Website A single organization controls almost everything you see, hear, and read in the media and they've been handpicking your leaders for decades. It is no secret that over the last 4 decades, mainstream media has been consolidated from dozens of competing companies to only six. Hundreds of channels, websites, news outlets, newspapers, and magazines, making up ninety percent of all media is controlled by very few people, giving Americans the illusion of choice. While six companies controlling most everything the Western world consumes in regard to media may sound like a sinister arrangement, the Swiss Propaganda Research center (SPR) has just released information that is even worse. The research group was able to tie all these media companies to a single organization: the Council on Foreign Relations (CFR). For those who may be unaware, the CFR is a primary member of the circle of Washington think-tanks promoting endless war. As former Army Major Todd Pierce describes, this group acts as "primary provocateurs" using, "'psychological suggestiveness' to create a false narrative of danger from some foreign entity with the objective being to create paranoia within the U.S. population that it is under imminent threat of attack or takeover." A senior member of the CFR and outspoken neocon warmonger, Robert Kagan has even publicly proclaimed that the U.S. should create an empire. The narrative created by CFR and its cohorts is picked up by their secondary communicators, also known the mainstream media, who push it on the populace with no analysis or questioning. -
Staff Writer Handbook
ARIZONA STATE LAW JOURNAL Staff Writer Handbook » 2020–2021 « ASLJ Staff Writer Handbook INTRODUCTION Welcome to the Arizona State Law Journal! This handbook is a resource that outlines the responsibilities of a Staff Writer on Journal. Inside, you will find four sections that provide an overview of: (1) the structure of Journal and duties of each editorial position; (2) the production (cite checking) process; (3) the Note & Comment process, and (4) the article selection process. This handbook intends to provide an overall understanding of what we hope to accomplish as a Journal this year and your instrumental role in finding that success. It also has resources, deadlines, reminders, and helpful tips. If you have questions, please reach out to any Executive Board Member or Editor. Take time to read the handbook to get an overall understanding of what we hope to accomplish this year and your role in achieving our goals. Journal is hard work, we will not sugar-coat it; but we hope you will find, as we have, that Journal membership is extremely rewarding. Welcome to the team! It’s going to be a great year! 2 ASLJ Staff Writer Handbook TABLE OF CONTENTS STAFF WRITER HANDBOOK ................................................................................................................. 1 PART I: WHAT IS THE ARIZONA STATE LAW JOURNAL? ............................................................... 5 ROLE OF THE ARIZONA STATE LAW JOURNAL ................................................................. 5 How ASLJ Can Help You: Research and -
TECHNICAL REPORT 2020 PHOTO CONTEST Foreword
TECHNICAL REPORT 2020 PHOTO CONTEST Foreword This report is designed to enable informed conversation within our community of professional visual journalism and storytelling. his is the fifth edition of the World Press Photo Foundation’s Over the past year, we launched two new programs to encourage Ttechnical report reviewing the annual photo contest. Each year a more diverse and inclusive representation of the world: the our commitment to transparency means we make public data Solutions Visual Journalism Initiative (SVJI) in partnership MIAP, on the contest related to issues of diversity, representation, and the Message in a Photo foundation and the Solutions Journalism verification. Network, and The West Africa Visual Journalism Fellowship in partnership with the Chocolonely Foundation. This report is designed to enable informed conversation within our community of professional visual journalism and storytelling and is In the years to come we are committed to continue expanding not intended to be a comprehensive presentation of all aspects of our efforts to support and encourage an inclusive, diverse visual all the relevant issues. journalism industry. WPPF TECHNICAL REPORT | 01 The World Press Photo Foundation and the World Press Photo Contest he annual World Press Photo Contest is one of the World the global audience through high quality, non-fiction reporting TPress Photo Foundation's most important and best-known and storytelling that can be trusted. programs. Being a global platform gives the foundation the responsibility The contest rewards photographers for the best single exposure to present the best, most accurate and compelling work, even pictures contributing to the past year of visual journalism. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero. -
Proceedings of the Annual Meeting of the Association for Education in Journalism and Mass Communication (79Th, Anaheim, CA, August 10-13, 1996)
DOCUMENT RESUME ED 401 571 CS 215 579 TITLE Proceedings of the Annual Meeting of the Association for Education in Journalism and Mass Communication (79th, Anaheim, CA, August 10-13, 1996). Visual Communication and Science and Health Communication Division. INSTITUTION Association for Education in Journalism and Mass Communication. PUB DATE Aug 96 NOTE 257p.; For other sections of these proceedings, see CS 215 568-580. Photographs in the Lester paper may not reproduce clearly. PUB TYPE Collected Works Conference Proceedings (021) EDRS PRICE MF01/PC11 Plus Postage. DESCRIPTORS *Acquired Immune Deficiency Syndrome; Blacks; Broadcast Journalism; Environment; Interpersonal Communication; Journalism Research; Mass Media Effects; *Mass Media Role; *Mass Media Use; *News Media; *Newspapers; Photojournalism; Stereotypes; Technological Advancement IDENTIFIERS Digital Technology; *Health Communication; Multimedia Technology; Technology Integration; Television News; *Visual Communication ABSTRACT The Visual Communication and Science and Health Communication section of the proceedings contains the following 12 papers: "The Designers' Toolbox: Newsroom Experience and Ideal Characteristics of Newspaper Designers" (Wayne Wanta and Lauren Danner); "Patterned Image of the Homeless: Discourse Analysis of Television News Narrative" (In-Sung Whang and E.J. Min); "Navigating the Digital Universe: The Use of Space in the Design of Multimedia" (Jean Trumbo); "African American Pictorial Coverage in Four U.S. Newspapers" (Paul Martin Lester and Randy Miller); "Pictorial Stereotypes in the Media: A Pedagogical Discussion" (Paul Martin Lester); "How Media Use and Demographics Affect Satisfaction with the Appearance of Community Newspapers" (John Mark King); "Television News Images of the Oklahoma City Bombing and the Fear of Terrorism" (Claudette Guzan Artwick); "'American Gothic' and the Impact of Digital Video Technology on the Visual Communication of Television" (Edward J.