Comparing the Presentation of News Information Over Time and Across Media Platforms
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The News Media Industry Defined
Spring 2006 Industry Study Final Report News Media Industry The Industrial College of the Armed Forces National Defense University Fort McNair, Washington, D.C. 20319-5062 i NEWS MEDIA 2006 ABSTRACT: The American news media industry is characterized by two competing dynamics – traditional journalistic values and market demands for profit. Most within the industry consider themselves to be journalists first. In that capacity, they fulfill two key roles: providing information that helps the public act as informed citizens, and serving as a watchdog that provides an important check on the power of the American government. At the same time, the news media is an extremely costly, market-driven, and profit-oriented industry. These sometimes conflicting interests compel the industry to weigh the public interest against what will sell. Moreover, several fast-paced trends have emerged within the industry in recent years, driven largely by changes in technology, demographics, and industry economics. They include: consolidation of news organizations, government deregulation, the emergence of new types of media, blurring of the distinction between news and entertainment, decline in international coverage, declining circulation and viewership for some of the oldest media institutions, and increased skepticism of the credibility of “mainstream media.” Looking ahead, technology will enable consumers to tailor their news and access it at their convenience – perhaps at the cost of reading the dull but important stories that make an informed citizenry. Changes in viewer preferences – combined with financial pressures and fast paced technological changes– are forcing the mainstream media to re-look their long-held business strategies. These changes will continue to impact the media’s approach to the news and the profitability of the news industry. -
2013 Pitching Profiles for TV Producers Media Contacts
2013 Pitching Profiles for TV Producers Media Contacts A Cision Executive Briefing Report | January 2013 Cision Briefing Book: TV Producers Regional Cable Network | Time Warner Inc., NY 1 News, Mr. Matt Besterman, News, Executive Producer Shipping Address: 75 9Th Ave Frnt 6 DMA: New York, NY (1) New York, NY 10011-7033 MSA: New York--Northern NJ--Long Island, NY--NJ--PA MSA (1) United States of America Mailing Address: 75 9Th Ave Frnt 6 Phone: +1 (212) 691-3364 (p) New York, NY 10011-7033 Fax: +1 (212) 379-3577 (d) United States of America Email: [email protected] (p) Contact Preference: E-Mail Home Page: http://www.ny1.com Profile: Besterman serves as Executive Producer for NY 1 News. He is a good contact for PR professionals pitching the program. When asked if there is any type of story idea in particular he’s interested in receiving, Besterman replies, “We don’t really know what we might be interested in until we hear about it. But it has to relate to New Yorkers.” Besterman is interested in receiving company news and profiles, event listings, personality profiles and interviews, public appearance information, rumors and insider news, and trend stories. On deadlines, Besterman says that each program is formulated the day of its broadcast, but he prefers to books guests several days in advance. Besterman prefers to be contacted and pitched by email only. Besterman has been an executive producer at New York 1 News since November 2000. He previously worked as a producer at WRGB-TV in Albany, NY since March 1998. -
Ethics for Digital Journalists
ETHICS FOR DIGITAL JOURNALISTS The rapid growth of online media has led to new complications in journalism ethics and practice. While traditional ethical principles may not fundamentally change when information is disseminated online, applying them across platforms has become more challenging as new kinds of interactions develop between jour- nalists and audiences. In Ethics for Digital Journalists , Lawrie Zion and David Craig draw together the international expertise and experience of journalists and scholars who have all been part of the process of shaping best practices in digital journalism. Drawing on contemporary events and controversies like the Boston Marathon bombing and the Arab Spring, the authors examine emerging best practices in everything from transparency and verifi cation to aggregation, collaboration, live blogging, tweet- ing, and the challenges of digital narratives. At a time when questions of ethics and practice are challenged and subject to intense debate, this book is designed to provide students and practitioners with the insights and skills to realize their potential as professionals. Lawrie Zion is an Associate Professor of Journalism at La Trobe University in Melbourne, Australia, and editor-in-chief of the online magazine upstart. He has worked as a broadcaster with the Australian Broadcasting Corporation and as a fi lm journalist for a range of print publications. He wrote and researched the 2007 documentary The Sounds of Aus , which tells the story of the Australian accent. David Craig is a Professor of Journalism and Associate Dean at the University of Oklahoma in the United States. A former newspaper copy editor, he is the author of Excellence in Online Journalism: Exploring Current Practices in an Evolving Environ- ment and The Ethics of the Story: Using Narrative Techniques Responsibly in Journalism . -
A Critical Discourse Analysis of Punch and Daily
TUG OF WAR: A CRITICAL DISCOURSE ANALYSIS OF PUNCH AND DAILY TRUST NEWSPAPERS’ COVERAGE OF POLIO ERADICATION IN NIGERIA A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Journalism and Media Studies of RHODES UNIVERSITY By AYANFEOLUWA OLUTOSIN OYEWO Supervisor: Danika Marquis September 2014 DEDICATION This thesis is dedicated to the world’s greatest parents: Dr and Pharm, O. O. Oyewo. No amount of words can effectively capture the depth of my gratitude to you both. Thank you for the sacrifices you made, for believing in me, and for the endless prayers. I love you, and God bless you. I also dedicate this thesis in honour of my late grandfather, Mr. Adebayo Adio Oyedemi. Your exemplary life was and is an inspiration to me. 2 ACKNOWLEDGEMENTS First, my gratitude goes to God for granting me the grace and speed needed to complete this study. I am grateful to my supervisor, Danika Marquis, for her patience, kindness and thoroughness during the research process. I am also indebted to Professor Jeanne Prinsloo for introducing me to the world of Critical Discourse Analysis. My gratitude also goes to great friends and colleagues; Pauline Atim, Dayo Fashina, Khanyile Mlosthwa, Lauren Hutcheson, Similoluwa Olusola, Carly Hosford-Israel, Mathew Nyaungwa, and Oluwasegun Owa, for their intellectual, and moral support. I would also like to thank my grandmothers, Deaconess C. M. Oyedemi, and Deaconess J. A. Oyewo, for their words of encouragement and prayers. To my siblings (Obaloluwa, Ooreoluwa and Ireoluwa), cousins, uncles, and aunts, thank you for your overwhelming expressions of love. -
Broadcast Journalism Course Descriptions and Career Recommendations
Broadcast Journalism Course Descriptions and Career Recommendations JOUR 402 Broadcast Reporting The class will focus on writing and reporting well-balanced, comprehensive and visually compelling stories. Undergraduate and graduate students research, report, write, shoot and edit stories. During TV day-of-air shifts in the Annenberg Media Center, students learn how to meet the same deadlines that professional reporters handle in small, medium and large markets. They also put together feature packages and could get the chance to do live shots for the nightly newscasts. This class is a MUST for any student who wants to be a TV reporter in news, sports or entertainment. It is also strongly recommended for students who want to learn how to field produce packages. JOUR 403 Television News Production Students sharpen news judgment and leadership skills by producing live day-of-air television newscasts, creating digital content, and using social media. They make decisions about news coverage, stories and presentation while managing reporters, anchors, writers, editors and many others under deadline pressure. JOUR 403 producers will write, copy edit and supervise live shots. Students have used skills learned in JOUR 403 to excel in jobs including local news producing, news reporting, sports producing and network segment producing. This class is a MUST for any student who wants to be the producer of a TV newscast or other type of live program. It is STRONGLY recommended for students who want to be TV news producers and reporters, sports producers or local/network segment producers. JOUR 405 Non-Fiction Television This class introduces students to the process of producing a documentary for digital and broadcast platforms. -
Digital Journalism and Democracy 9 Beate Josephi
The SAGE Handbook of Digital Journalism BK-SAGE-WITSCHGE-160034.indb 1 4/21/2016 8:51:09 PM SAGE was founded in 1965 by Sara Miller McCune to support the dissemination of usable knowledge by publishing innovative and high-quality research and teaching content. Today, we publish over 900 journals, including those of more than 400 learned societies, more than 800 new books per year, and a growing range of library products including archives, data, case studies, reports, and video. SAGE remains majority-owned by our founder, and after Sara’s lifetime will become owned by a charitable trust that secures our continued independence. Los Angeles | London | New Delhi | Singapore | Washington DC | Melbourne BK-SAGE-WITSCHGE-160034.indb 2 4/21/2016 8:51:15 PM The SAGE Handbook of Digital Journalism Edited by Tamara Witschge, C.W. Anderson, David Domingo and Alfred Hermida BK-SAGE-WITSCHGE-160034.indb 3 4/21/2016 8:51:15 PM SAGE Publications Ltd Introductions & editorial arrangement © Tamara Witschge, 1 Oliver’s Yard C.W. Anderson, David Domingo and Alfred Hermida 2016 55 City Road London EC1Y 1SP Chapter 1 © Beate Josephi 2016 Chapter 21 © Laura Ahva and Chapter 2 © Owen Taylor 2016 Heikki Heikkilä 2016 SAGE Publications Inc. Chapter 3 © Eugenia Siapera Chapter 22 © Bart Cammaerts 2455 Teller Road 2016 and Nick Couldry 2016 Thousand Oaks, California 91320 Chapter 4 © Rasmus Kleis Chapter 23 © Seth C. Lewis and Nielsen 2016 Oscar Westlund 2016 SAGE Publications India Pvt Ltd Chapter 5 © Stephen J.A. Ward Chapter 24 © Chris Peters 2016 B 1/I 1 Mohan Cooperative Industrial Area 2016 Chapter 25 © David M. -
Social Media and the Unyielding Flow of Cable News in the Age of Trump
Social Media and the Unyielding Flow of Cable News in the Age of Trump Deborah L. Jaramillo, Boston University An early observation about television’s daily architecture warrants a reevaluation as new technologies and shifting viewing patterns call into question its relevance. For all the justified criticism, adaptation, and elaboration of Williams’ earliest description of flow, a return to the general concept helps us decode what is happening on cable news in the Trump era. The new routine on cable news generally revels in the sort of disruption instigated by political turmoil, scandal, a renewed investment in investigative reporting, and the decision of cable news producers to include and fixate on Trump’s Twitter feed. Information flow, Twitter flow, and programming flow live together now, sometimes uncomfortably. The key to flow on MSNBC, in particular, is the way that this new living arrangement moves not toward denouement and relaxation at the end of the programming day as broadcast flow does. The blow of each revelation snowballs so that flow is not just a sequence of possibly connected stories from dawn through midnight. I argue that the crux of flow on MSNBC is actually about memory and magnitude—not the resolution of but the accumulation of politically charged information, crises, and catastrophes across the day and, as we are seeing, across all days. Cable news has created a space where continuity, repetition, anticipation, and disruption commingle; the resulting atmosphere is ripe for continuous, live political catastrophe. Cable news relies on the relentless flow of time to frame its usefulness for viewers. -
Nordic Drama
NORDIC DRAMA PUBLIC SERVICE ORIGINALS A stronger Nordic public service drama collaboration The Nordic public service media companies DR, NRK, RUV, SVT and Yle have in recent years been renowned for outstanding Nordic drama productions. High quality drama with a clear local anchoring and strong public service ambitions has become one of our distinguishing trademarks. To ensure that strong, local drama remains a trademark of the Nordic public service broadcasters in a digital world, the Nordvision partners have decided to build a stronger public service drama portfolio. A strengthening that will increase both the volume of Nordic drama that each company have available on their “players” as well as the quality of the publishing right the partners secure for each other. A clear focus on drama that reflects a Nordic culture, reality and identity fits naturally with the public service mission, and it provides a genuine and recognizable promise to the users that sets Nordic public service apart from other content providers. The initiative is called “Nordic Twelve” (N12). What is N12? N12 – is a yearly package of 12 Nordic drama series with 12 month of rights in the Nordic region. In the following you can find all the N12 drama series: N12 - 2018, N12 - 2019, and some drama series from N12 - 2020. The Nordic partners also co-produce between 8 and 10 young adult drama series a year. For more information see www.nordvision.org 4 N12 2018 8 LIBERTY / DR 10 RIDE UPON THE STORM 2 / DR 12 HOME GROUND 1 / NRK 14 MANNERS / RUV 16 SISTERS 1968 / SVT 18 THE DAYS THE FLOWERS BLOOM / SVT 20 BONUS FAMILY 3 / SVT 22 BLIND DONNA / YLE 24 HOOKED 1 + 2 / YLE N12 2019 26 FOLLOW THE MONEY 3 / DR 28 DELIVER US / DR 30 TWIN / NRK 32 HOME GROUND 2 / NRK 34 EVERYTHING I DON´T REMEMBER / SVT 36 SWIPE RIGHT / SVT 38 INVISIBLE HEROES / YLE 40 THE PARADISE / YLE N12 2020 42 A FAMILY MATTER / DR 44 22. -
Reuters Institute Digital News Report 2020
Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media. -
Edward R. Murrow
ABOUT AMERICA EDWARD R. MURROW JOURNALISM AT ITS BEST TABLE OF CONTENTS Edward R. Murrow: A Life.............................................................1 Freedom’s Watchdog: The Press in the U.S.....................................4 Murrow: Founder of American Broadcast Journalism....................7 Harnessing “New” Media for Quality Reporting .........................10 “See It Now”: Murrow vs. McCarthy ...........................................13 Murrow’s Legacy ..........................................................................16 Bibliography..................................................................................17 Photo Credits: University of Maryland; right, Digital Front cover: © CBS News Archive Collections and Archives, Tufts University. Page 1: CBS, Inc., AP/WWP. 12: Joe Barrentine, AP/WWP. 2: top left & right, Digital Collections and Archives, 13: Digital Collections and Archives, Tufts University; bottom, AP/WWP. Tufts University. 4: Louis Lanzano, AP/WWP. 14: top, Time Life Pictures/Getty Images; 5 : left, North Wind Picture Archives; bottom, AP/WWP. right, Tim Roske, AP/WWP. 7: Digital Collections and Archives, Tufts University. Executive Editor: George Clack 8: top left, U.S. Information Agency, AP/WWP; Managing Editor: Mildred Solá Neely right, AP/WWP; bottom left, Digital Collections Art Director/Design: Min-Chih Yao and Archives, Tufts University. Contributing editors: Chris Larson, 10: Digital Collections and Archives, Tufts Chandley McDonald University. Photo Research: Ann Monroe Jacobs 11: left, Library of American Broadcasting, Reference Specialist: Anita N. Green 1 EDWARD R. MURROW: A LIFE By MARK BETKA n a cool September evening somewhere Oin America in 1940, a family gathers around a vacuum- tube radio. As someone adjusts the tuning knob, a distinct and serious voice cuts through the airwaves: “This … is London.” And so begins a riveting first- hand account of the infamous “London Blitz,” the wholesale bombing of that city by the German air force in World War II. -
4-Student-Notes-Media-Industries U2
Media Studies - TV Student Notes Media Industries You will need to consider: • how processes of production, distribution and circulation by organisations, groups and individuals in a global context • the specialised and institutionalised nature of media production, distribution and circulation • the significance of patterns of ownership and control, including conglomerate ownership, vertical integration and diversification • the significance of economic factors, including commercial and not-for-profit public funding, to media industries and their products • how media organisations maintain, including through marketing, varieties of audiences nationally and globally • the regulatory framework of contemporary media in the UK • how processes of production, distribution and circulation shape media products • the role of regulation in global production, distribution and circulation This should be linked where relevant to • social, • cultural, • economic, • political, • historical contexts. • the significance of different ownership and/or funding models in the television industry (i.e. whether media companies are privately or publicly owned, whether they are publicly or commercially funded etc.) • the growing importance of co-productions (including international co-productions) in the television industry today the way in which production values are shaped by economic factors • the impact of risk aversion on television production (e.g. in terms of the commissioning and financing of programmes) • the different sources of funding available to producers working in the television industry today Media Studies - TV 1 Media Studies - TV Student Notes The Bridge (iii/1) • ‘Bron/Broen/ The Bridge’: a Swedish/Danish co-production • Series 3, Episode 1 • Sat 21 Nov 2015 9pm BBC Four • Written by Hans Rosenfeldt • Original Network : SVT1 Sweden • DR1 Denmark • UK Broadcasters: BBC 4 • 3 seasons, 30 episodes • Production of series four has begun, with broadcasting scheduled for the spring of 2018. -
Measuring the News and Its Impact on Democracy COLLOQUIUM PAPER Duncan J
Measuring the news and its impact on democracy COLLOQUIUM PAPER Duncan J. Wattsa,b,c,1, David M. Rothschildd, and Markus Mobiuse aDepartment of Computer and Information Science, University of Pennsylvania, Philadelphia, PA 19104; bThe Annenberg School of Communication, University of Pennsylvania, Philadelphia, PA 19104; cOperations, Information, and Decisions Department, University of Pennsylvania, Philadelphia, PA 19104; dMicrosoft Research, New York, NY 10012; and eMicrosoft Research, Cambridge, MA 02142 Edited by Dietram A. Scheufele, University of Wisconsin–Madison, Madison, WI, and accepted by Editorial Board Member Susan T. Fiske February 21, 2021 (received for review November 8, 2019) Since the 2016 US presidential election, the deliberate spread of pro-Clinton articles.” In turn, they estimated that “if one fake misinformation online, and on social media in particular, has news article were about as persuasive as one TV campaign ad, generated extraordinary concern, in large part because of its the fake news in our database would have changed vote shares by potential effects on public opinion, political polarization, and an amount on the order of hundredths of a percentage point,” ultimately democratic decision making. Recently, however, a roughly two orders of magnitude less than needed to influence handful of papers have argued that both the prevalence and the election outcome. Subsequent studies have found similarly consumption of “fake news” per se is extremely low compared with other types of news and news-relevant content.