Critical Citizens Online: Adding to Or Subtracting from Conventional Media Regulation?
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Print Journalism: a Critical Introduction
Print Journalism A critical introduction Print Journalism: A critical introduction provides a unique and thorough insight into the skills required to work within the newspaper, magazine and online journalism industries. Among the many highlighted are: sourcing the news interviewing sub-editing feature writing and editing reviewing designing pages pitching features In addition, separate chapters focus on ethics, reporting courts, covering politics and copyright whilst others look at the history of newspapers and magazines, the structure of the UK print industry (including its financial organisation) and the development of journalism education in the UK, helping to place the coverage of skills within a broader, critical context. All contributors are experienced practising journalists as well as journalism educators from a broad range of UK universities. Contributors: Rod Allen, Peter Cole, Martin Conboy, Chris Frost, Tony Harcup, Tim Holmes, Susan Jones, Richard Keeble, Sarah Niblock, Richard Orange, Iain Stevenson, Neil Thurman, Jane Taylor and Sharon Wheeler. Richard Keeble is Professor of Journalism at Lincoln University and former director of undergraduate studies in the Journalism Department at City University, London. He is the author of Ethics for Journalists (2001) and The Newspapers Handbook, now in its fourth edition (2005). Print Journalism A critical introduction Edited by Richard Keeble First published 2005 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX9 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Selection and editorial matter © 2005 Richard Keeble; individual chapters © 2005 the contributors All rights reserved. -
Egypt and the Middle East
Monitoring Study: British Media Portrayals of Egypt Author: Guy Gabriel - AMW adviser Contact details: Tel: 07815 747 729 E-mail: [email protected] Newspapers monitored: All British national daily broadsheets and tabloids, as well as the Evening Standard Monitoring period: May 2008 - May 2009 1 Table of contents: Egypt & the Middle East Regional Importance Israel Camp David Accords The Gulf Sudan Horn of Africa Diplomacy towards Palestine Before Gaza Conflict 2009 Gaza 2009 Diplomacy The Palestine Border Tunnel Economy Crossing Closures Domestic Egypt Food Religion in Society State Ideology Economy Miscellaneous Domestic Threats Emergency Rule & Internal Security Terrorism Egypt & the West Egypt as an Ally 'War on Terror' Suez Ancient Egypt Influence of Egyptian Art Other Legacies Tourism 2 Egypt & the Middle East Regional Importance Various other Middle Eastern countries are sometimes mentioned in connection with Egypt's regional influence, though very rarely those from North Africa. In terms of Egypt's standing in the Middle East as viewed by the US, a meeting in Cairo, as well as Saudi Arabia and Israel, are "necessary step[s] in the careful path Mr Obama is laying out," notes Times chief foreign affairs commentator Bronwen Maddox (29 May 2009). A "solid" Arab-Israeli peace deal "must include President Mubarak of Egypt," says Michael Levy in the same newspaper (14 May 2009). Regarding a divided Lebanon, the Arab League is "tainted by the commitment of the Saudis and Egyptians to one side rather than the other," according to an Independent editorial (13 May 2008). Egypt appointing an ambassador to Iraq generates interest "not only because it is the most populous Arab country but also because its chargé d'affaires in Baghdad was kidnapped and killed in 2005," writes Guardian Middle East editor Ian Black (2 July 2008). -
VIRGIN TV BRITISH ACADEMY TELEVISION AWARDS: NOMINATIONS 11 April 2017
VIRGIN TV BRITISH ACADEMY TELEVISION AWARDS: NOMINATIONS 11 April 2017 COMEDY & COMEDY ENTERTAINMENT PROGRAMME CHARLIE BROOKER’S 2016 WIPE Production Team - House of Tomorrow/BBC Two CUNK ON SHAKESPEARE Charlie Brooker, Annabel Jones, Sam Ward, Lorry Powles - House of Tomorrow/BBC Two THE LAST LEG Production Team - Open Mike Productions/Channel 4 TASKMASTER Alex Horne, Andy Cartwright, Andy Devonshire - Avalon/Dave CURRENT AFFAIRS INSIDE OBAMA’S WHITE HOUSE Norma Percy, Brian Lapping, Paul Mitchell, Sarah Wallis - Brook Lapping/BBC Two TEENAGE PRISON ABUSE EXPOSED (PANORAMA) Production Team - BBC Productions/BBC One THREE DAYS OF TERROR: THE CHARLIE HEBDO ATTACKS (THIS WORLD) Dan Reed, Mark Towns, Luc Hermann - AMOS Pictures/BBC Two UNARMED BLACK MALE (THIS WORLD) James Jones, Sarah Foudy, Sarah Waldron, Sam Bagnall - BBC Current Affairs/BBC Two DRAMA SERIES THE CROWN Production Team - Left Bank Pictures/Netflix THE DURRELLS Production Team - Sid Gentle Films Ltd/Masterpiece/ITV HAPPY VALLEY Sally Wainwright, Juliet Charlesworth, Nicola Shindler, Neasa Hardiman - Red Production Company/BBC One WAR & PEACE Production Team - BBC Studios/BBC Wales/Lookout Point/TWC/BBC One ENTERTAINMENT PERFORMANCE ADAM HILLS The Last Leg - Open Mike Productions/Channel 4 CLAUDIA WINKLEMAN Strictly Come Dancing - BBC Studios/BBC One GRAHAM NORTON The Graham Norton Show - So Television/BBC One MICHAEL MCINTYRE Michael McIntyre's Big Show - Hungry McBear/BBC One ENTERTAINMENT PROGRAMME ANT & DEC’S SATURDAY NIGHT TAKEAWAY Production Team - ITV Studios/Mitre -
POST-BRITISH CRIME FILMS and the ETHICS of RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University)
CINEMA 11 152 “THEY’RE BAD PEOPLE – THEY SHOULD SUFFER”: POST-BRITISH CRIME FILMS AND THE ETHICS OF RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University) In recent years, British popular genre cinema has displayed a tendency to allegorise the ethical ques- tions resulting from the nation’s social and political challenges of the 21st century.1 Whether it is the Blair government’s decision to join the US in the Iraq war in 2003 and the ensuing disillusionment with democracy and the futility of public protest, the austerity measures and subsequently increasing social divisions in the wake of the global financial crisis of 2008, the ongoing process of Scottish and Welsh devolution that challenges the very notion of a United Kingdom, Britain finds itself in a stage that Michael Gardiner has described as “post-British.”2 On the level of the nation-state, and especially with regard to Scottish and Welsh devolution, the post-British process can be identified as the “demo- cratic restructuring of each nation within union and each nation still affected by Anglophone imperial- ism”3, while the social structure of Britain is still marked by the internal fault lines of class divisions of class. The notion of “post-Britain” has been addressed in British film studies. William Brown has sug- gested that Britain’s cinematic output in the 21st century offers a “paradoxically post-British” perspec- tive which is reflected in subject matter, ideological points of view and modes of production.4 As Brown argues, such post-British perspectives can particularly be found in popular genre films such as 28 Days Later (2002) and V for Vendetta (2006).5 In the following, I will argue that this post-British sensibility in contemporary national genre cinema is aligned with urgent ethical questions regarding the nation state on both the British level as well as within a larger European context. -
The Politics of Accuracy in Judging Global Warming Films
Accepted pre-publication version Published at: Environmental Communication 3:2 (2009) 134-150. The politics of accuracy in judging global warming films Abstract In 2007, two documentaries about global warming – An Inconvenient Truth and The Great Global Warming Swindle – became subject to legal and regulatory challenges in the UK. This paper examines the limitations of appeals to accuracy in these two cases. Rather than terminating debate, the discourse of accuracy engenders a representational regress which serves only to generate further controversy. Accuracy claims become particularly problematic in the case of documentary film where the role of the visual image must be accounted for. In particular, the ambiguous figural status of the image in science documentaries makes accuracy an inadequate means by which to judge such films. I suggest that rather than being considered in isolation, accuracy needs to be understood as one of several textual features which together construct the truthfulness of a text. The integrity of the text emerges as the most meaningful concept for evaluating media representations of climate change. Keywords: media, documentary film, accuracy, rhetoric, global warming. Introduction In 2007, two high-profile films about climate change became the subject of formal proceedings in the UK. An Inconvenient Truth , featuring former US Vice-President Al Gore, was the subject of a High Court case regarding its distribution in schools by the UK Government. The documentary The Great Global Warming Swindle , written and produced by filmmaker Martin Durkin, was examined by the broadcasting regulator Ofcom following numerous complaints after it was broadcast on television. In both cases, many of the subsequent media reports implied that the adjudication had found against the theory of anthropogenic global warming. -
Austerity, Women and Right-Wing Populism the Case of Monroe Vs Hopkins
Austerity, Women and Right-wing Populism The Case of Monroe vs Hopkins Kirsten Forkert (Birmingham School of Media) Austerity politics in the UK 2015 General Election, a Conservative government continued the austerity n the aftermath of the financial programme. Cuts were applied to a great Icrisis of 2008 and the 2010 General number of welfare benefits such as Child Election, which ended 13 years of rule Benefit, Employment and Housing by the Labour Party, the Conservative Support Allowance, Universal Credit, Liberal-Democrat Coalition government but also to the salaries of public sector undertook a programme of drastic cuts to employees and to the budgets of local public spending. This was justified by the authorities, who in their turn were forced argument that the previous government to close hundreds of libraries and youth had irresponsibly overspent and that the clubs as well as reduce support for creative public must now ‘live within their means’ activities. All these measures together – essentially a revival of the economy- had the combined effect of entrenching as-household metaphor used by former social and economic inequality. Prime Minister Margaret Thatcher many years earlier. Like in Thatcher’s time, Women hit hardest this was an argument which was mostly accepted by the public, who – as intended t a closer look the brunt of austerity - made the common-sense intuitive link Awas mostly borne by women, thus between household finances and macro- reversing gains made on gender quality. economics. Although there were vibrant Although women were already at a protests and anti-austerity campaigns, disadvantage because of the gender pay these did not involve a majority of gap - they earn 82 p for every pound the population and did not force the earned by a man - and were more likely government to change course. -
The Educational Backgrounds of Leading Journalists
The Educational Backgrounds of Leading Journalists June 2006 NOT FOR PUBLICATION BEFORE 00.01 HOURS THURSDAY JUNE 15TH 2006 1 Foreword by Sir Peter Lampl In a number of recent studies the Sutton Trust has highlighted the predominance of those from private schools in the country’s leading and high profile professions1. In law, we found that almost 70% of barristers in the top chambers had attended fee-paying schools, and, more worryingly, that the young partners in so called ‘magic circle’ law firms were now more likely than their equivalents of 20 years ago to have been independently-educated. In politics, we showed that one third of MPs had attended independent schools, and this rose to 42% among those holding most power in the main political parties. Now, with this study, we have found that leading news and current affairs journalists – those figures who are so central in shaping public opinion and national debate – are more likely than not to have been to independent schools which educate just 7% of the population. Of the top 100 journalists in 2006, 54% were independently educated an increase from 49% in 1986. Not only does this say something about the state of our education system, but it also raises questions about the nature of the media’s relationship with society: is it healthy that those who are most influential in determining and interpreting the news agenda have educational backgrounds that are so different to the vast majority of the population? What is clear is that an independent school education offers a tremendous boost to the life chances of young people, making it more likely that they will attain highly in school exams, attend the country’s leading universities and gain access to the highest and most prestigious professions. -
LSE Brexit: “May, Juncker and Farage Walk Into a Bar…”: Comedy Is Playing a Vital Role in Enabling People to Come to Terms with Brexit Page 1 of 3
LSE Brexit: “May, Juncker and Farage walk into a bar…”: Comedy is playing a vital role in enabling people to come to terms with Brexit Page 1 of 3 “May, Juncker and Farage walk into a bar…”: Comedy is playing a vital role in enabling people to come to terms with Brexit Comedy is inherently linked to identity. Joking enables us to present ourselves and our view of the world to others while simultaneously inviting them to form connections with us through laughter. If you are ‘in’ on the joke, you form a connection with the joke-teller; you are (however briefly) a community united by humour. So what does this have to do with Brexit? Quite a bit, argues Ellie Tomsett (Birmingham City University). Arguably the reason why Brexit is such a complex and yet unavoidable comedy topic in the current context is that it cuts across such a wide range of identity characteristics. Much of the campaigning and post-vote journalism regarding Brexit attempted to ham-fistedly siphon off identity characteristics against each other: the working-classes versus the liberal elite, second-generation British Asians versus newly arrived Central-Eastern European communities, Michael Gove versus pretty much everyone (especially experts). Figures published by the BBC earlier this year state that just over 13,000 UK citizens obtained nationality from another EU state in 2017. These statistics highlight just how complex notions of identity have become, as people try to remain connected to the EU, post-referendum. Brexit presents major complications for comedy as what we find funny shifts and evolves alongside our sense of identity, both as individuals and in relation to national identity. -
VIRGIN TV BRITISH ACADEMY TELEVISION AWARDS: Winners in Bold * 14 May 2017
VIRGIN TV BRITISH ACADEMY TELEVISION AWARDS: Winners in Bold * 14 May 2017 FELLOWSHIP *JOANNA LUMLEY SPECIAL AWARD *NICK FRASER COMEDY & COMEDY ENTERTAINMENT PROGRAMME *CHARLIE BROOKER’S 2016 WIPE Production Team - House of Tomorrow/BBC Two CUNK ON SHAKESPEARE Charlie Brooker, Annabel Jones, Sam Ward, Lorry Powles - House of Tomorrow/BBC Two THE LAST LEG: LIVE FROM RIO Production Team - Open Mike Productions/Channel 4 TASKMASTER Alex Horne, Andy Cartwright, Andy Devonshire - Avalon/Dave CURRENT AFFAIRS INSIDE OBAMA’S WHITE HOUSE Norma Percy, Brian Lapping, Paul Mitchell, Sarah Wallis - Brook Lapping/BBC Two *TEENAGE PRISON ABUSE EXPOSED (PANORAMA) Production Team - BBC Productions/BBC One THREE DAYS OF TERROR: THE CHARLIE HEBDO ATTACKS (THIS WORLD) Dan Reed, Mark Towns, Luc Hermann - AMOS Pictures/BBC Two UNARMED BLACK MALE (THIS WORLD) James Jones, Sarah Foudy, Sarah Waldron, Sam Bagnall - BBC Current Affairs/BBC Two DRAMA SERIES THE CROWN Production Team - Left Bank Pictures/Netflix THE DURRELLS Production Team - Sid Gentle Films Ltd/Masterpiece/ITV *HAPPY VALLEY Sally Wainwright, Juliet Charlesworth, Nicola Shindler, Neasa Hardiman - Red Production Company/BBC One WAR & PEACE Production Team - BBC Studios/BBC Wales/Lookout Point/TWC/BBC One ENTERTAINMENT PERFORMANCE ADAM HILLS The Last Leg - Open Mike Productions/Channel 4 CLAUDIA WINKLEMAN Strictly Come Dancing - BBC Studios/BBC One GRAHAM NORTON The Graham Norton Show - So Television/BBC One *MICHAEL MCINTYRE Michael McIntyre's Big Show - Hungry McBear/BBC One ENTERTAINMENT PROGRAMME* -
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Analysis of complaints From 1 October 2019 to 31 March 2020 the Unit reached findings on 376 complaints. 19 complaints were wholly or partly upheld. 33 complaints were resolved. The bulletin includes summaries of these cases. Standards of service The Unit’s target is to deal with most complaints within 20 working days of receiving them. A target of 35 days applies to a minority of cases (78 in this period) which require longer or more complex investigation. During the period 1 October 2019 to 31 March 2020, 84% of replies were sent within their target time. Summaries of upheld/resolved complaints A guide to Labour Party anti-Semitism claims, bbc.co.uk Complaint A reader complained that, though the article’s erroneous statement that Labour had “never confirmed the number of anti-Semitism cases it is investigating” had been corrected, no adequate explanation for the origin of the error had been given. Outcome Irrespective of the inadequacy of the explanation in the eyes of the complainant, the correction sufficed to resolve the issue of complaint. Resolved Anti-Semitism: May and Corbyn clash over anti-racism records, bbc.co.uk Complaint A reader complained that the original version of this article was inaccurate in stating that the Labour Party had “never confirmed” the number of complaints about anti- Semitism investigated, and that the emended version remained misleading by reporting that the scale of the issue was disputed. Outcome The article was inaccurate in its original form because Labour’s General Secretary had, by the time of publication, released figures for complaints investigated over a ten- month period. -
2017 03 30-CPBF Submission to Ofcom on Fox-Sky
Twenty-First Century Fox Inc and Sky plc European Intervention Notice Commitment to Broadcasting Standards RESPONSE FROM THE CAMPAIGN FOR PRESS AND BROADCASTING FREEDOM March 30 2017 1. INTRODUCTION The Campaign for Press and Broadcasting Freedom is pleased to take the opportunity to comment on the proposed buyout of Sky plc by Twenty-First Century Fox (21CF). We are confining ourselves to the referral by the Secretary of State on the ground of commitment to broadcasting standards. While the whole of Sky’s output is covered by Ofcom’s broadcasting code, it is inevitable that most of the analysis will be of the potentially contentious area of news. It is also inevitable that there will be some comment on the conduct of individuals, but there are particularly prominent individuals in this case. To consider this requires determining the current commitment of both Sky and 21CF to the Ofcom broadcasting code, in particular section 5, Impartiality and Accuracy, and the likely difference to Sky operations as a result of the acquisition. In our view this is an important decision with wider implications than the narrow parameters of the transaction involved might indicate. To approve the takeover would signify a fundamental change to the ecology of British broadcasting; in our view, for the worse. It is clear enough what the worry would be: that 21CF, the owners of the Fox network in the USA, would set out to apply Fox News’s approach and modus operandi, in a process defined as “Foxification”. Fox News’s output is in frequent breach of section 5, so the question becomes: can the owners of 21CF be trusted not to? 2. -
PINTER on SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – Curated by Harold Pinter Biographer and Theatre Critic for the Guardian Michael Billington
Tuesday 19 June 2018, London. To mark the 10th anniversary of the death of one of the most important and influential British playwrights of the last century, HAROLD PINTER, BFI Southbank will host a special two month season – PINTER ON SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – curated by Harold Pinter biographer and theatre critic for The Guardian Michael Billington. Best-known for his work as a playwright, PINTER ON SCREEN will celebrate his contribution to film and television, which was extremely significant, not only writing pioneering plays for television, but also for working on scripts for a varied range of landmark films like Joseph Losey’s The Servant (1963), The French Lieutenant’s Woman (Karel Reisz, 1981) starring Meryl Streep and Jeremy Irons, The Comfort of Strangers (Paul Schrader, 1990) and the 1990 adaptation of Margaret Atwood’s still all-too-relevant The Handmaid’s Tale (Volker Schlöndorff). “‘Truth in drama, is forever elusive. You never quite find it, but the search for it is compulsive.’ – Harold Pinter on receiving the Nobel Prize for Literature in 2005. On this statement, and on Pinter, season curator Michael Billington says: “That applies as much to his work for the screen as it does to the stage with which it shares many qualities: a fascination with the private roots of power, an abiding preoccupation with memory and the deceptiveness of language, a belief in the agency of women. Pinter, from his teenage years when he explored the work of Luis Buñuel, Marcel Carné and Jean Vigo, was always passionately in love with cinema and was proud that the majority of his screenplays were filmed.