Joan Didion and the New Journalism
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Literary War Journalism: Framing and the Creation of Meaning J
Literary War Journalism: Framing and the Creation of Meaning J. Keith Saliba, Ted Geltner Journal of Magazine Media, Volume 13, Number 2, Summer 2012, (Article) Published by University of Nebraska Press DOI: https://doi.org/10.1353/jmm.2012.0002 For additional information about this article https://muse.jhu.edu/article/773721/summary [ Access provided at 1 Oct 2021 07:15 GMT with no institutional affiliation ] Literary War Journalism Literary War Journalism: Framing and the Creation of Meaning J. Keith Saliba, Jacksonville University [email protected] Ted Geltner, Valdosta State University [email protected] Abstract Relatively few studies have systematically analyzed the ways literary journalists construct meaning within their narratives. This article employed rhetorical framing analysis to discover embedded meaning within the text of John Sack’s Gulf War Esquire articles. Analysis revealed several dominant frames that in turn helped construct an overarching master narrative—the “takeaway,” to use a journalistic term. The study concludes that Sack’s literary approach to war reportage helped create meaning for readers and acted as a valuable supplement to conventional coverage of the war. Keywords: Desert Storm, Esquire, framing, John Sack, literary journalism, war reporting Introduction Everything in war is very simple, but the simplest thing is difficult. The difficulties accumulate and end by producing a kind of friction that is inconceivable unless one has experienced war. —Carl von Clausewitz Long before such present-day literary journalists as Rolling Stone’s Evan Wright penned Generation Kill (2004) and Chris Ayres of the London Times gave us 2005’s War Reporting for Cowards—their poignant, gritty, and sometimes hilarious tales of embedded life with U.S. -
Slouching Towards Bethlehem: Essays by Joan Didion
Slouching Towards Bethlehem: Essays by Joan Didion This collection captures the unique time and place of Didion's focus, exploring subjects such as John Wayne and Howard Hughes, growing up in California, the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco's Haight-Ashbury, the heart of the counterculture.. Why you'll like it: 1960s California, a motley crew, mainstream- and counter-culture. About the Author: Born in Sacramento, California, on December 5, 1934, Joan Didion received a B.A. from the University of California, Berkeley in 1956. She wrote for Vogue from 1956 to 1963, and was visiting regent's lecturer in English at the University of California, Berkeley in 1976. Didion also published novels, short stories, social commentary, and essays. Her work often comments on social disorder. Didion wrote for years on her native California; from there her perspective broadened and turned to the countries of Central America and Southeast Asia. Her novels include Democracy (1984) and The Last Thing He Wanted (1996). Well known nonfiction titles include Slouching Towards Bethlehem (1968), The White Album (1979), The Year of Magical Thinking (2005) and Blue Nights (2011). In 1971 Joan Didion was nominated for the National Book Award in fiction for Play It As It Lays. In 1981 she received the American Book Award in nonfiction, and was nominated for a National Book Critics Circle Prize in nonfiction for The White Album. Didion has received a great deal of recognition for The Year of Magical Thinking, which was awarded the National Book Award for Nonfiction in 2005. -
The Digital Animation of Literary Journalism
JOU0010.1177/1464884914568079JournalismJacobson et al. 568079research-article2015 Article Journalism 1 –20 The digital animation of © The Author(s) 2015 Reprints and permissions: literary journalism sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1464884914568079 jou.sagepub.com Susan Jacobson Florida International University, USA Jacqueline Marino Kent State University, USA Robert E Gutsche Jr Florida International University, USA Abstract Since The New York Times published Snow Fall in 2012, media organizations have produced a growing body of similar work characterized by the purposeful integration of multimedia into long-form journalism. In this article, we argue that just as the literary journalists of the 1960s attempted to write the nonfiction equivalent of the great American novel, journalists of the 2010s are using digital tools to animate literary journalism techniques. To evaluate whether this emerging genre represents a new era of literary journalism and to what extent it incorporates new techniques of journalistic storytelling, we analyze 50 long-form multimedia journalism packages published online from August 2012 to December 2013. We argue that this new wave of literary journalism is characterized by executing literary techniques through multiple media and represents a gateway to linear storytelling in the hypertextual environment of the Web. Keywords Content analysis, literary journalism, long-form, multimedia, New Journalism, storytelling Introduction As news has evolved, journalists have experimented with new formats to enhance and transform the news-consumption experience (Barnhurst, 2010; Pauly, 2014). The use of Corresponding author: Susan Jacobson, School of Journalism and Mass Communication, Florida International University, 3000 NE 151 Street, AC2, North Miami, FL 33181, USA. Email: [email protected] 2 Journalism literary techniques in journalism has been one of the methods that reporters and editors have employed to create variety in news storytelling. -
Headline Hunters: Two New Films Underscore Hollywood's Ever-Changing Fascination with Journalists • a Life in Focus More Stories | Complete Entertainment Index
Headline hunters: Two new films underscore Hollywood's ever-... http://ijpc.org/Stephen%20Whitty%20Star-Ledger%20Headlin... SEARCH Pick Newspaper Enter Keyword(s) FIND A BUSINESS Enter Keyword » Search for Colleges and Schools » More From The Star-Ledger » Fun Guide: Things to do in NJ INSIDE » Autos: Free price quote on new Entertainment vehicles Headline hunters: Two new films underscore » Arts & Events » Cool Contests and Giveaways Hollywood's ever-changing fascination with » Dining & Bars journalists » Movies » Music Sunday, October 09, 2005 » Television BY STEPHEN WHITTY Star-Ledger Staff For journalists, it was a sort of good news/bad SPEAK UP! news sort of thing, although the good news was » Movies Forum hardly positive: Forty-nine percent of Americans think they're liars. » More Forums The bright side was that, last year, the number had reached 55 percent. MORE REVIEWS Of course, the Gallup Poll is too polite to use the word "liar." But asked » Read All Recent last month if they had "a great deal" or even "a fair amount" of trust in the Reviews From The Star-Ledger media, a bare 50 percent of respondents said yes. And judging by a recent slate of movies, Hollywood agrees. Advertisement Not Not Found Found The requested URL /RealMedia The requested /ads/Creatives/NJONLINE URL /MK_BLJOBS_NJ15 /RealMedia /AdInteraxVideo.html was not found NEW JERSEY on this server. LOTTERY » MEGAMILLIONS JACKPOT is $ 128 128 Apache/2.0.63 (CentOS) Server at MEGA MILLION ads.advance.net Port 80 » PICK 6 JACKPOT is $ 16.5 16.5 MILLION An Advertising Section 2006 Mitsubishi Galant Advertisement 2006 Mitsubishi Galant STAR-LEDGER » Commercial/Industrial Real Estate » Eastern PA Real Estate Mainstream moviemakers used to see reporters as heroes, truth-tellers » Fall Education Guide who exposed corruption; now they're bit players, yelling fatuous » Long Branch Renaissance questions. -
Feature Journalism
Feature Journalism Oxford Research Encyclopedia of Communication Feature Journalism Steen Steensen Subject: Journalism Studies Online Publication Date: Aug 2018 DOI: 10.1093/acrefore/9780190228613.013.810 Summary and Keywords Feature journalism has developed from being a marginal and subordinate supplement to (hard) news in newspapers to becoming a significant part of journalism on all platforms. It emerged as a key force driving the popularization and tabloidization of the press. Feature journalism can be defined as a family of genres that share a common exigence, understood as a publicly recognized need to be entertained and connected with other people on a mainly emotional level by accounts of personal experiences that are related to contemporary events of perceived public interest. This exigence is articulated through three characteristics that have dominated feature journalism from the very beginning: It is intimate, in the sense that it portrays people and milieus in close detail and that it allows the journalist to be subjective and therefore intimate with his or her audience; it is literary in the sense that it is closely connected with the art of writing, narrativity, storytelling, and worlds of fiction; and it is adventurous, in the sense that it takes the audiences on journeys to meet people and places that are interesting. Traditional and well-established genres of feature journalism include the human-interest story, feature reportage, and the profile, which all promote subjectivity and emotions as key ingredients in feature journalism in contrast to the norm of objectivity found in professional news journalism. Feature journalism therefore establishes a conflict of norms that has existed throughout the history of journalism. -
Horizontal and Vertical Themes in Joan Didion's Memoir Where I Was From
RSA 15-16 (2004-2005) CRISTINA SCATAMACCHIA Horizontal and Vertical Themes in Joan Didion's Memoir Where I Was From 1. According to Katherine Usher Henderson, "Few American writers are 'American' in all the ways that Joan Didion is" (140). Didion, a celebrat ed journalist and fiction writer, has published five novels and several col lections of essays, from Slouching Towards Bethlehem (1968) and The White Album (1979), highly influential and groundbreaking examples of new journalism investigating themes like social fragmentation and rootless ness, to the more recent PoliticalFictions (2001) on the workings of Amer ican electoral politics, and Fixed Ideas: America Since 9.11 (2003), a dis section of the Bush administration's tactics and strategies for determin ing the public perception of the terrorist attacks and the war in Iraq that followed. While writing on so many different subjects, she has always analyzed and interpreted them from a highly personal viewpoint and a specific Western ideological perspective. Didion, in fact, was born in Sacramento in 1934 into an upper-middle class family and her work reflects her experience as an American and a Californian. Her identity as a daughter of California has caused many of her essays to be both region al and autobiographical in focus (Winchell 94; Muggli 402; Roiphe 1-2). The mythology of her native state figures prominently in them, as she seeks to render the moral complexity of the American Western experi ence, its dilemmas and ambiguities. Even when she deals with larger social and economic forces at work in contemporary American politics, she understands them in terms of her own peculiarly Californian sensi bility (Davidson 36; Didion, "Thinking" 10). -
“'The Paranoia Was Fulfilled' – an Analysis of Joan Didion's
“‘THE PARANOIA WAS FULFILLED’ – AN ANALYSIS OF JOAN DIDION’S ESSAY ‘THE WHITE ALBUM’” Rachele Colombo Independent Scholar ABSTRACT This article looks at Joan Didion’s essay “The White Album” from the collection of essays The White Album (1979), as a relevant text to reflect upon America’s turmoil in the sixties, and investigate in particular the subject of paranoia. “The White Album” represents numerous historical events from the 1960s, but the central role is played by the Manson Murders case, which the author considers it to be the sixties’ watershed. This event–along with many others–shaped Didion’s perception of that period, fueling a paranoid tendency that reflected in her writing. Didion appears to be in search of a connection between her growing anxiety and these violent events throughout the whole essay, in an attempt to understand the origin of her paranoia. Indeed, “The White Album” deals with a period in Didion’s life characterized by deep nervousness, caused mainly by her increasing inability to make sense of the events surrounding her, the Manson Murders being the most inexplicable one. Conse- quently, Didion seems to ask whether her anxiety and paranoia are justified by the numerous violent events taking place in the US during the sixties, or if she is giving a paranoid interpretation of com- pletely neutral and common events. Because of her inability to find actual connections between the events surrounding her, in particular political assassinations, Didion realizes she feels she is no longer able to fulfill her main duty as a writer: to tell a story. -
The White Album by Joan Didion Created by Lars Jan / Early Morning Opera
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer The White Album By Joan Didion Created by Lars Jan / Early Morning Opera BAM Harvey Theater Nov 28—30, Dec 1 at 7:30pm Running time: approx. 1 hour 30 minutes Performed by and created with Mia Barron With performances by Stephanie Regina, Andrew Schneider, Micaela Taylor, Sharon Udoh Architectural design by P-A-T-T-E-R-N-S Architecture Lighting by Andrew Schneider and Chu-hsuan Chang Music and sound design by Jonathan Snipes Choreography by Stephanie Zaletel Dramaturgy by David Bruin Season Sponsor: Major support for The White Album provided by Agnes Gund Major support for theater at BAM provided by: The Achelis and Bodman Foundation The Fan Fox & Leslie R. Samuels Foundation, Inc. The Francena T. Harrison Foundation Trust The SHS Foundation The Shubert Foundation, Inc. The White Album MIA BARRON LARS JAN STEPHANIE REGINA ANDREW SCHNEIDER MICAELA TAYLOR SHARON UDOH The White Album Assistant director Madeline Barasch Costume design Kate Fry Sound engineer Duncan Woodbury Design consultant Shannon Scrofano Special effects Steve Tolin / TolinFX Scenic fabrication Stereobot, Inc. Technical director Michaelangelo DeSerio Production manager Sarah Peterson Stage manager Amanda Eno Company manager Marisa Blankier Producer Miranda Wright Produced with Los Angeles Performance Practice / PerformancePractice.org The White Album was commissioned by Center Theatre Group with support from the Andrew W. Mellon Foundation, by BAM for the 2018 Next Wave Festival, by the Wexner Center for the Arts at The Ohio State University, and by The Center for the Art of Performance at UCLA. -
Mr. Claro -- Modern Nonfiction Reading Selection by Joan Didion Holy Water JOAN DIDION Is a Fifth-Generation Californian, Born I
Untitled Document Mr. Claro -- Modern Nonfiction Reading Selection by Joan Didion Holy Water JOAN DIDION is a fifth-generation Californian, born in Sacramento (1934), who took her B.A. at Berkeley and lives in Los Angeles. Between college and marriage to the writer John Gregory Dunne, she lived in New York for seven years, where she worked as an editor for Vogue and wrote essays for the National Review and the Saturday Evening Post. In California, Didion and Dunne separately write novels and magazine articles and collaborate on screenplays. Didion's novels are Run River (1963), Play It as It Lays (1970), A Book of Common Prayer (1977), and Democracy (1984). Her collections of essays are Slouching Towards Bethlehem (1968), The White Album (1979), from which we have taken this selection, and After Henry (1992). She published Salvador in 1983, in 1987 Miami. Joan Didion is one of our best nonfiction writers. She describes the alien, simple California she grew up in and the southern California where she now lives - a landscape of drive-ins and orange groves, ocean and freeway, the Manson murders and ordinary, domestic, adulterous homicide. She has done witness to the turmoils of the decades, especially the sixties - drugs, Vietnam, and personal breakdown. Expertly sensitive and inventive with language, she is most talented in the representation of hysteria. While her book about El Salvador mentions politics, it is essentially the record of a sensibility, sensitive to fear, exposed to an atmosphere that engenders it: "Terror is the given of the place." Much of Didion's journalism derives from interviews. -
Michael Kamber
Why Photography WHY PHOTOGRAPHY Michael Kamber I grew up in a time, in the 1960s and 70s, when photographs made a difference. My family got The Portland Press Herald every morning. There was always a black-and-white news image on the front page. This photo was a representation of an important event in the world from the previous day. Weekly news magazines, such as Time and Newsweek, were packed with photos too; I pored over them eagerly, occasionally cutting photos from their pages. They were my only links to far-off happenings in a distant world. The iconic photos of the civil rights movement in particular were burned into my consciousness. I studied the defiant marchers, snarling dogs, and pot-bellied Southern sheriffs with insouciant grins. Pictures from the Vietnam War changed my consciousness as well. We watched grainy clips on TV every evening. Yet it was the photos, rather than the news footage, that seared the deepest. I remember the photos and the photographers: Larry Burrow's color work from the field of battle, exhausted men and blood-stained ban- dages against the brown earth; Henri Huet, a French-Vietnamese As- sociated Press photographer, took pictures with the eye of a poet; the classic images that I would see again and again in my youth: Eddie Adams' Saigon execution photo; Nick Ut's picture of the napalmed girl running down Highway One. These photos were credited with 69 CREATIVE LIVES turning the American public against the war. These photos provided evidence of people's lives, their suffering, American foreign-policy failures; realities that needed to change. -
Seana Mckenna to Star in Canadian Premiere of Joan Didion’S the Year of Magical Thinking
NEWS RELEASE Monday, October 19, 2009 For immediate release SEANA MCKENNA TO STAR IN CANADIAN PREMIERE OF JOAN DIDION’S THE YEAR OF MAGICAL THINKING "Remarkable. It will break your heart." The New York Times October 19, 2009 - Seana McKenna, one of this country’s finest actors, will star in the Canadian premiere of Joan Didion’s The Year of Magical Thinking at the Belfry Theatre from November 10 to December 13, 2009. Directed by Belfry Artistic Director Michael Shamata, The Year of Magical Thinking is based on Didion’s best selling memoir of the same name. In The Year of Magical Thinking, Didion, one of America’s great essayists and novelists, captures the compassion, humour and bewilderment of a fiercely intelligent woman whose world lurches suddenly from the ordinary to the unimaginable. This is Didion’s attempt to make sense of the “weeks and then months that cut loose any fixed idea I ever had about death, about illness . about marriage and children and memory . about the shallowness of sanity, about life itself.” Told with raw candour and a storyteller’s gift for the absurd, this magnificently written meditation on grief – ‘a place none of us know until we reach it’ – is also a celebration of family, filled with a luminous belief in the power of the human spirit to overcome heartbreak and to endure. Joan Didion Joan Didion was born in Sacramento, California. In 1964, she married John Gregory Dunne, an aspiring novelist who was writing for Time magazine. The couple moved to Los Angeles with the intention of staying six months and ended up making their home there for the next 20 years. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By Severin Justin Poirot Norman, Oklahoma 2019 THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION APPROVED FOR THE GAYLORD COLLEGE OF JOURNALISM AND MASS COMMUNICATION BY Dr. David Craig, Chair Dr. Eric Kramer Dr. Jill Edy Dr. Ralph Beliveau Dr. Julie Jones © Copyright by SEVERIN JUSTIN POIROT 2019 All Rights Reserved. iv Acknowledgments I’ve spent a lot of time and hand wringing wondering what I was going to say here and whom I was going to thank. First of all I’d like to thank my committee chair Dr. David Craig. Without his guidance, patience and prayers for my well-being I don’t know where I would be today. I’d like to also thank my other committee members: Dr. Eric Kramer, Dr. Julie Jones, Dr. Jill Edy, and Dr. Ralph Beliveau. I would also like to thank former member Dr. Namkee Park for making me feel normal for researching video games. Second I’d like to thank my colleagues at the University of Oklahoma who were there in the trenches with me for years: Phil Todd, David Ferman, Kenna Griffin, Anna Klueva, Christal Johnson, Jared Schroeder, Chad Nye, Katie Eaves, Erich Sommerfeldt, Aimei Yang, Josh Bentley, Tara Buehner, Yousuf Mohammad and Nur Uysal. I also want to extend a special thanks to Bryan Carr, who possibly is a bigger nerd than me and a great help to me in finishing this study.