Making Headlines Creating Positive Change in Media Around the World in 2015 THOMSON FOUNDATION New Frontiers in Media
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LR003208 - Alfred Bradley (Interview 14) - No Date.Wav Duration: 0:39:10 Date: 31/07/2017 Typist: 715
File: LR003208 - Alfred Bradley (interview 14) - no date.wav Duration: 0:39:10 Date: 31/07/2017 Typist: 715 START AUDIO Interviewer: A history of north regional broadcasting, interview number 14, Alfred Bradley. Radio's very first play was broadcast from Station 2LO London on the 15th November 1922. The day after Broadcasting England first began and it was heard in the children's programme but the north region can probably boast the first adult play written for wireless. L. du Garde Peach was the author. It came from the British Broadcasting Company's Metrovix studio and was broadcast by Station 2ZY. By the start of the 1930s far more Northerners were hearing plays than seeing them in the theatre. They were produced by the likes of Jan Bussell, Cecil McGiven and by Edward Wilkinson. The radio dramatic feature became the invention and hallmark of Geoffrey Brideson and Frances Dillon, Olive Shapley and Joan Littlewood all working from North region. By the 1940s James R Gregson had started a school for Radio Playwrights at the Leeds Studios. No history of North Regional Broadcasting would be anywhere near compete without BBC Regional Drama's most distinguished name, that of Alfred Bradley who's with me now. 0:01:19 Alfred you joined in 1959? Alfred Bradley: Yes, I came from a strange job. I was drama advisor in Leicestershire. I suppose I started off wanting to be an actor and I grew out of that very quickly. Found I was better at directing than acting. I couldn't be bothered to remember the lines. -
Mobile Journalism Is a Groundbreaking Transmissions
Table of contents introduction Journalism has undergone a major A case in point is breaking news. When transformation and benefited as a a natural disaster or a major accident result of multiple technological happens it traditionally required innovations over the last ten years. substantial resources, including the This advancement demands that deployment of heavy and expensive traditional journalism adapts to equipment to report live. This is true of constant change so media can meet transporting a crew to Pakistan´s audience expectations, specifically in northern mountainous areas to report terms of credibility and timing. on an earthquake, but is also true of reporting the refugee crisis in Europe. Among these technological develop- Another example is covering war, ments, the emergence of smart- where journalists are often targeted phones, along with digital technology for reporting on demonstrations or and Wi-Fi, has deeply changed—and restricted from accessing conflict continues to change—journalism. Not zones. only has the smartphone become a crucial device for news consumption, With smartphones in their back but it also provides a pocket-sized pockets, journalists no longer have to media hub for journalists. worry about setting up cables, connec- tions, large cameras or satellite Mobile journalism is a groundbreaking transmissions. They can go almost way of doing journalism. Armed with unnoticed. only a smartphone, journalists are empowered to cover almost any story Mobile journalism has additional in a timely and safer manner. One of advantages, aside from increased the most notable advantages of mobility and access. The development mobile journalism is that it enables the of highly sophisticated cameras, apps journalist to overcome frequent and add-on equipment allows journal- challenges and barriers, often ists to explore their creativity and use strengthening freedom of speech and their smartphones not only in crisis or access to information. -
Journalism in the Era of Mobile Technology: the Changing Pattern of News Production and the Thriving Culture of Fake News in Pakistan and Ghana
Sadia Jamil, Gifty Appiah-Adjei Journalism in the era of mobile technology: the changing pattern of news production and the thriving culture of fake news in Pakistan and Ghana Sadia Jamil1 University of Queensland, Australia Gifty Appiah-Adjei University of Education, Winneba, Ghana DOI: 10.30547/worldofmedia.3.2019.2 Abstract The advent of new technologies has resulted in the rise of mobile journalism around the globe. Mobile devices have reformed the newsroom environments by introducing new means to connect with the audience and to communicate with other journalists within the same place. Many traditional media organizations already produce news content for mobile web-sites and apps in proportion to cross-media strategies, reflecting structural changes in the journalism industry and transformation in the process of news production in many countries and although coming from different cultural traditions and geographical locations, Pakistan and Ghana are no exceptions. However, there are concerns about the potential role of mobile journalism in fostering the culture of fake news in both countries. Thus, using the media convergence and social responsibility theories, this study aims to analyse how mobile journalism is altering the news production process and fostering the trend of fake news in Pakistan and Ghana. To accomplish this aim, this study uses the qualitative methods of document review and in-depth interviews and offers a thematic analysis of the qualitative data. Keywords Mobile journalism, fake news, media convergence, social responsibility, Pakistan’s and Ghana’s news media. 1 Corresponding author: Sadia Jamil, University of Queensland, St Lucia Qld 4072, Australia. Email: [email protected] 42 Journalism in the era of mobile technology: The changing pattern of news production and the thriving culture of fake news in Pakistan and Ghana Introduction Technology has always been at the forefront of newsgathering and the journalistic process. -
I ANKARA UNIVERSITY INSTITUTE of SOCIAL SCIENCES
ANKARA UNIVERSITY INSTITUTE OF SOCIAL SCIENCES FACULTY OF COMMUNICATIONS COMPARATIVE ANALYSIS OF IMPROVING NEWS TRUSTWORTHINESS IN KENYA AND TURKEY IN THE WAKE OF FAKE NEWS IN DIGITAL ERA. MASTER’S THESIS ABDINOOR ADEN MAALIM SUPERVISOR DR. ÖĞR. ÜYESİ ERGİN ŞAFAK DİKMEN ANKARA- 2021 i TEZ ONAY SAYFASI TÜRKİYE CUMHURİYETİ ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ (MEDYA VE İLETİŞİM ÇALIŞMALARI ANABİLİM DALI) Dijital Çağdaki Sahte Haberlerin Sonucunda Türkiye ve Kenya’da Artan Haber Güvenilirliğinin Karşılaştırmalı Analizi (YÜKSEK LİSANS TEZİ) Tez Danışmanı DR. ÖĞR. Üyesi ERGİN ŞAFAK DİKMEN TEZ JÜRİSİ ÜYELERİ Adı ve Soyadı İmzası 1- PROF.DR. ABDULREZAK ALTUN 2- DR. ÖĞR. Üyesi ERGİN ŞAFAK DİKMEN 3- Doç. Dr. FATMA BİLGE NARİN. Tez Savunması Tarihi 17-06-2021 ii T.C. ANKARA ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü Müdürlüğü’ne, DR. ÖĞR. Üyesi ERGİN ŞAFAK DİKMEN danışmanlığında hazırladığım “Dijital Çağdaki Sahte Haberlerin Sonucunda Türkiye ve Kenya’da Artan Haber Güvenilirliğinin Karşılaştırmalı Analizi (Ankara.2021) ” adlı yüksek lisans - doktora/bütünleşik doktora tezimdeki bütün bilgilerin akademik kurallara ve etik davranış ilkelerine uygun olarak toplanıp sunulduğunu, başka kaynaklardan aldığım bilgileri metinde ve kaynakçada eksiksiz olarak gösterdiğimi, çalışma sürecinde bilimsel araştırma ve etik kurallarına uygun olarak davrandığımı ve aksinin ortaya çıkması durumunda her türlü yasal sonucu kabul edeceğimi beyan ederim. Tarih: 3/8/2021 Adı-Soyadı ve İmza ABDINOOR ADEN MAALIM iii ANKARA UNIVERSITY INSTITUTE OF SOCIAL SCIENCES FACULTY OF COMMUNICATIONS COMPARATIVE ANALYSIS OF IMPROVING NEWS TRUSTWORTHINESS IN KENYA AND TURKEY IN THE WAKE OF FAKE NEWS IN DIGITAL ERA. MASTER’S THESIS ABDINOOR ADEN MAALIM SUPERVISOR DR. ÖĞR. ÜYESİ ERGİN ŞAFAK DİKMEN ANKARA- 2021 iv DECLARATION I hereby declare with honour that this Master’s thesis is my original work and has been written by myself in accordance with the academic rules and ethical requirements. -
MA/Msc Digital Journalism Programme Specification
MA/MSc Digital Journalism Programme Specification Awarding Institution: University of London (Interim Exit Awards made by Goldsmiths’ College) Teaching Institution: Goldsmiths, University of London Name of Final Award and Programme Title: MA/MSc Digital Journalism Name of Interim Exit Award(s): Postgraduate Certificate in Digital Journalism Postgraduate Diploma in Digital Journalism Duration of Programme: 1 year full-time or 2 years part-time UCAS Code(s): Not applicable HECoS Code(s): (100442) Journalism 50% (100366) Computer Science 50% QAA Benchmark Group: Not appliCable FHEQ Level of Award: Level 7 Programme accredited by: Not applicable Date Programme Specification last updated/approved: December 2020 Home Department: Media, Communications and Cultural Studies Department(s) which will also be involved in teaching part of the programme: Computing Programme overview Journalism is changing rapidly to deal with fundamental changes in technology and in the way people access and disseminate information using the World Wide Web and portable electronic media. The MA/MSc in Digital Journalism has been specifically developed to create graduates who will not only be able to deal with current technologies as they affect Journalistic practice, but will also have the necessary deep understanding and skill to adapt to future technologically-informed changes in practice and, in some cases, to develop the technologies that will bring about these changes. Students will receive highly specialised training in digital technologies, enabling them to develop technical and editorial skills in all aspects of computer-supported news gathering and digital media production. The goal of the program is for its graduates to help produce, MA/MSc Digital Journalism - Programme Specification 1 Goldsmiths, University of London shape, refresh, and reinvent journalism in fast-changing mobile and global media. -
What Is a Lighting Director?
What is a lighting director by Martin Kempton What is a lighting director? Simply put - a lighting director designs the lighting for multi-camera television productions. He or she instructs the crew of electricians in their work in addition to guiding the team of operators who usually sit with the LD in the lighting control room. All this while working closely with the director and the rest of the production team to deliver the best possible pictures. However, there's rather more to it than that, and on this page on the website I explain where LDs work, what kinds of shows LDs work on and give some of the background to what we do. It's important to point out right away that simple 'illumination' is actually a relatively unimportant part of our work. Current TV cameras are capable of operating in very low light levels so it would be quite possible to see what was going on in most studios simply by switching on the houselights. Fortunately, producers and directors realise that the result would look pretty awful. Another thing is also worth making clear – a lighting director is not an electrician. He or she might have been once, but an LD is not another name for a crew chief or gaffer. Most television LDs do not have electrical qualifications, although some may have. In any case, this is not a requirement of the job. The electrical supervisor (gaffer) is in charge of realising the LD’s design in the studio from the rigging and electrical point of view. -
Has TV Eaten Itself? RTS STUDENT TELEVISION AWARDS 2014 5 JUNE 1:00Pm BFI Southbank, London SE1 8XT
May 2015 Has TV eaten itself? RTS STUDENT TELEVISION AWARDS 2014 5 JUNE 1:00pm BFI Southbank, London SE1 8XT Hosted by Romesh Ranganathan. Nominated films and highlights of the awards ceremony will be broadcast by Sky www.rts.org.uk Journal of The Royal Television Society May 2015 l Volume 52/5 From the CEO The general election are 16-18 September. I am very proud I’d like to thank everyone who has dominated the to say that we have assembled a made the recent, sold-out RTS Futures national news agenda world-class line-up of speakers. evening, “I made it in… digital”, such a for much of the year. They include: Michael Lombardo, success. A full report starts on page 23. This month, the RTS President of Programming at HBO; Are you a fan of Episodes, Googlebox hosts a debate in Sharon White, CEO of Ofcom; David or W1A? Well, who isn’t? This month’s which two of televi- Abraham, CEO at Channel 4; Viacom cover story by Stefan Stern takes a sion’s most experienced anchor men President and CEO Philippe Dauman; perceptive look at how television give an insider’s view of what really Josh Sapan, President and CEO of can’t stop making TV about TV. It’s happened in the political arena. AMC Networks; and David Zaslav, a must-read. Jeremy Paxman and Alastair Stew- President and CEO of Discovery So, too, is Richard Sambrook’s TV art are in conversation with Steve Communications. Diary, which provides some incisive Hewlett at a not-to-be missed Leg- Next month sees the 20th RTS and timely analysis of the election ends’ Lunch on 19 May. -
JOUR 321 (21171) Smith Syllabus Final (Fall 2021)
JOUR 321: Visual Journalism 2 Units Fall 2021 – Tuesdays – 4:30-6:10 p.m. Section: 21171D Location: ANN 301D Instructor: Olivia Smith Office Hours: Available upon request. Course Description Students will gain an understanding of journalistic visual storytelling through theory and practical application while exploring current and emerging story forms. Key components of the course include critically analyzing, interpreting, producing and understanding stories and story elements presented in journalistic visual formats. With a focus on visual media literacy, students will learn how to produce and share compelling visual stories in a variety of formats. Skills of the class include: Introduction to video for digital and social media 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 visual stories for web, mobile and social media. Students will also explore the fundamentals of digital news design, including interactivity and presentation as it applies to journalistic story forms across platforms. In addition to providing you with skills necessary to produce journalistic multimedia stories, including videos and audio slideshows, we will also cover ethical, legal and social issues affecting visual journalists. Finally, we will explore an introduction to best practices for social media. 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 or tablet device with a camera such as the iPhone X or Android Device will be used as a primary content-gathering device in the class. You’ll learn how to use your device as a journalist, including using apps for shooting, editing and other visual purposes. -
Beactive Mojo MOBILE JOURNALIST GUIDELINES
European Week of Sport #BeActive Mojo MOBILE JOURNALIST GUIDELINES European Week of Sport Upon request, the European Commission can provide further information and materials related to the Week to support #BeActive mojos. CONTACT: EWOS EAC-SPORT [email protected] or [email protected]. MOJO GUIDELINES TABLE OF CONTENT 1 INTRODUCTION 02 2 ABOUT THE WEEK 04 3 WHY MOBILE JOURNALISM 05 4 #BEACTIVE MOJO PROFILE 06 5 WORKING TOGETHER 07 6 EDITORIAL GUIDELINES 08 Mojo messaging Best practices Content to produce Hardware Social media tips Tips on filming and editing Apps for filming and editing 7 ANNEX 13 01 MOJO GUIDELINES Mobile journalists are telling riveting stories with little more than a smartphone in hand. Let’s get mojos on the move for #BeActive. TIBOR NAVRACSICS EUROPEAN COMMISSIONER FOR EDUCATION, CULTURE, YOUTH AND SPORT ABOUT THE WEEK The European Week of Sport aims to promote INTRODUCTION sport and physical activity across Europe, taking place annually from 23-30 September. The Week is for everyone, regardless of age, background or fitness level. With a focus on grassroots Since we began in 2015, the European Week of initiatives, it inspires Europeans to #BeActive Sport has engaged more than 10 million Europeans on a regular basis and creates opportunities in in over 15,000 #BeActive events in 31 countries. peoples’ everyday lives to exercise more. This year, we are expanding our reach and impact with a ‘mobile first’ strategy that integrates mobile The Week has five focus themes - sport in journalists – known as ‘mojos’ – into our campaign. education, workplaces, outdoors, sport clubs and fitness centres. -
The Use of Smartphones for Investigative Journalism: a Case
University of Ghana http://ugspace.ug.edu.gh THE USE OF SMARTPHONES FOR INVESTIGATIVE JOURNALISM: A CASE STUDY OF ACILA-TIGER EYE PROJECT OF USING SMARTPHONES TO FIGHT CORRUPTION BY STEPHEN NARTEY 10637346 THIS DISSERTATION IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MA COMMUNICATION STUDIES DEGREE. MARCH 2019 1 University of Ghana http://ugspace.ug.edu.gh DECLARATION I, Stephen Nartey, hereby declare that this submission is a product of my efforts and has not been presented to other universities. All references used in this study have been duly acknowledged under the supervision of Professor Audrey S. Gadzekpo. …………………………………….. ………………………………………. Stephen Nartey Professor Audrey S. Gadzekpo (Student) (Supervisor) Date:……………………………… Date:……………………………… 2 University of Ghana http://ugspace.ug.edu.gh DEDICATION This work is dedicated to my late mother, Agnes Abayateye, Head of News at Joy News, Elvis Kwashie as well as my course mate Eugene Brown Agyei. 3 University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENT I thank God for making this work possible. To those who assisted in diverse ways, including scheduling interviews with respondents I am thankful for your support. To my supervisor, Professor Audrey Sitsofe Gadzekpo, I am very grateful for your support, guidance and patience. A very special thank you to Dr. Gilbert Tietaah for his suggestions and time dedicated to this work. I want to express a special appreciation to all lecturers at the Department of Communication Studies for their time and sharing their knowledge with us. Last but not the least, it was a great time with all my classmates DCSMastersclass2018 especially Eugene Adjei- Brown and Kwaku Nti for being there when it mattered the most. -
Mobile Journalism: a Snapshot of Current Research and Practice
Mobile journalism: A snapshot of current research and practice David Cameron ([email protected]) University of Newcastle, Australia Introduction Descriptions of journalistic practice have long been compartmentalized by the media forms in which news output is published. Broad distinctions are often made between print and broadcast journalism, or magazine, newspaper, radio, or TV reporters. Recent variants include references to online or Web journalism, or to newer publication forms such as blogging, micro-blogging (‘tweeting’) and video and audio podcasting. Journalism is also differentiated by the technological means by which it is produced, such as with the solo video journalist (‘VJ’) equipped with a compact video camera, or the photojournalist now able to publish digital images straight to our screens via the Internet. The past decade has seen the diffusion of terms such as ‘backpack journalism’ to describe how a solo journalist equipped with a laptop computer, digital camera and satellite uplink can report across a variety of media from almost anywhere in the world. Another emerging form is that now described as ‘mobile journalism’ (‘MoJo’). The term has been loosely applied to describe a journalistic practice based on reporters equipped with highly portable multimedia newsgathering equipment, including both consumer and professional devices. This chapter examines a more specific form of mobile journalism based on the rapid convergence of handheld and wireless computing, digital photography and mobile telephony. Attention -
Telling the Story of Mobile Journalism, Through a Mobile Phone, to a Mobile Audience
MOJO! Telling the story of mobile journalism, through a mobile phone, to a mobile audience Asta Busingye Lydersen Master of Journalism, 120 credits Department of Media and Communication Faculty of Humanities Submitted in June 2020 Abstract Mobile phones drive social and cultural change all over the world, including changes in journalistic practices. This Master thesis explores the mobile phone as a professional storytelling tool, through the lived experience of mobile journalists in Norway, Uganda and Bangladesh. The focus of the study is on production of media content, and it was conducted using a practical-theoretical approach. The practical part involved the making of MOJO! A mobile documentary about mobile journalism, filmed on two iPhones between 2018-2020. The theoretical thesis is a reflection on, and analysis of, the documentary process, in light of relevant media theory and research. By interviewing, observing and documenting the work of mobile journalists in different countries and contexts, this Master project hopes to contribute to a broader understanding of mobile journalism as a practice. View MOJO! A mobile documentary about mobile journalism https://www.youtube.com/playlist?list=PLdFPkAGF-RP6r39h7WhhySarbkmCwZKYF For English subtitles, go to Settings: Keywords: Mojo. Mobile journalism, mobile journalist. Mobile reporting, mobile reporter. Citizen reporter. Mobile citizen reporter. Smartphone journalism. Acknowledgements To complete this Master project has been a four year struggle. First and foremost, I owe the achievement to my two supervisors: Maria Utheim from the Department of Media and Communication at the University of Oslo, and photographer and mojo instructor Jon Terje Hellgren Hansen. Your patience, constructive criticism and professional guidance was of vital importance, both in the journalistic and academic process.