Definitions of Journalism Barbie Zelizer University of Pennsylvania, [email protected]
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Deconstructing the Editorial and Production Workflow
Deconstructing the Editorial and Production Workflow Bill Kasdorf Vice President, Apex Content Solutions General Editor, The Columbia Guide to Digital Publishing Metadata Subgroup Lead, EPUB 3.0 & 3.0.1 WG Chair, BISG Content Structure Committee We all know what the stages of the editorial and production workflow are. Design. Copyediting. Typesetting. Artwork. Indexing. Quality Control. Ebook Creation. Ummm. They’re usually done in silos. Which are hard to see into, and are starting to break down. Thinking of these stages in the traditional way leads to suboptimization. In today’s digital ecosystem we need to deconstruct them in order to optimize: Who does what? At what stage(s) of the workflow? How to best manage the process? Who Does What? Do it in-house? Outsource it? Automate it? You can’t answer these questions properly without deconstructing the categories. And the answers differ from publisher to publisher. At What Stage(s) of the Workflow? How do these aspects intersect? How do you avoid duplication and rework? How do you get out of “loopy QC”? Getting the right things right upstream eliminates a lot of headaches downstream. How Best to Manage the Process? Balancing predictability and creativity: where to be strict, and where to be flexible? How can systems and standards help? Buy vs. build vs. wing it? Your systems, partners, and processes should make it easy for you to do the right work and keep you from doing the wrong work. Let’s deconstruct two key workflow stages to see what options there are for optimizing them. Copyediting -
Ethics in Photojournalism: Past, Present, and Future
Ethics in Photojournalism: Past, Present, and Future By Daniel R. Bersak S.B. Comparative Media Studies & Electrical Engineering/Computer Science Massachusetts Institute of Technology, 2003 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER, 2006 Copyright 2006 Daniel R. Bersak, All Rights Reserved The author hereby grants to MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _____________________________________________________ Department of Comparative Media Studies, August 11, 2006 Certified By: ___________________________________________________________ Edward Barrett Senior Lecturer, Department of Writing Thesis Supervisor Accepted By: __________________________________________________________ William Uricchio Professor of Comparative Media Studies Director Ethics In Photojournalism: Past, Present, and Future By Daniel R. Bersak Submitted to the Department of Comparative Media Studies, School of Humanities, Arts, and Social Sciences on August 11, 2006, in partial fulfillment of the requirements for the degree of Master of Science in Comparative Media Studies Abstract Like writers and editors, photojournalists are held to a standard of ethics. Each publication has a set of rules, sometimes written, sometimes unwritten, that governs what that publication considers to be a truthful and faithful representation of images to the public. These rules cover a wide range of topics such as how a photographer should act while taking pictures, what he or she can and can’t photograph, and whether and how an image can be altered in the darkroom or on the computer. -
Drafting a Fair Book Publishing Contract
Drafting Fair Book Publishing Contracts 2010 A manual to accompany the online CLE seminar Presented by 1-800-874-8556 www.BarristersCLE.com Copyright © 2010 Barristers Educational Services Drafting a Fair Book Publishing Contract By William R. Newman The internet age has brought about the advent of major changes in the publishing world, including book and periodical publishing. “On demand” publishing has made it ostensibly easier for an author to self-publish, and individual authors can often market and sell their books in significant numbers through online retailers like Amazon. However, for the most widespread marketing and distribution of a book (particularly through retail book stores), it remains necessary to convince a major publisher to accept the manuscript. Like most other relationships between the artistic element on the one hand and the business/marketing element on the other, the book publishing contract negotiation usually amounts to a “David/Goliath” scenario. One will rarely find anything approaching equal bargaining strength between the two parties, and major publishers will frequently take a “take it or leave it” stance with authors. Of course, this problem is most pronounced with first-time authors. Established authors with a proven sales record, on the other hand, have a great deal more leverage in the process. In any event, attorneys for nascent writers should not obsequiously accept the form contracts offered by publishing houses. There are many provisions that can be added for the author‟s protection and benefit that publishers often will not resist. I. GENERAL PROVISIONS A. Parties. The obvious parties to the contract will be the publisher and the “author.” If the author wishes to use a pen name, this will need to be stated specifically at the outset of the document. -
FOLLOWING a COLUMNIST AP English Language Originated by Jim Veal; Modified by V
WAYS TO IMPROVE MEMORY: FOLLOWING A COLUMNIST AP English Language Originated by Jim Veal; modified by V. Stevenson 3/30/2009; reprint: 5/24/2012 Some of the most prominent practitioners of stylish written rhetoric in our culture are newspaper columnists. Sometimes they are called pundits – that is, sources of opinion, or critics. On the reverse side find a list of well-know newspaper columnists. Select one (or another one that I approve of) and complete the tasks below. Please start a new page and label as TASK # each time you start a new task. TASK 1—Brief Biography. Write a brief (100-200 word) biography of the columnist. Make sure you cite your source(s) at the bottom of the page. I suggest you import a picture of the author if possible. TASK 2—Five Annotated Columns. Make copies from newspapers or magazines or download them from the internet. I suggest cutting and pasting the columns into Microsoft word and double-spacing them because it makes them easier to annotate and work with. Your annotations should emphasize such things as: - the central idea of the column - identify appeals to logos, pathos, or ethos - (by what means does the columnist seek to convince readers of the truth of his central idea?) - the chief rhetorical and stylistic devices at work in the column - the tone (or tones) of the column - errors of logic (if any) that appear in the column - the way the author uses sources, the type of sources the author uses (Be sure to pay attention to this one!) - the apparent audience the author is writing for Add a few final comments to each column that summarizes your general response to the piece— do not summarize the column! This task is hand-written. -
The Complete Run of the Iconic Newspaper Of
1938-1957 The compleTe run of The iconic newspaper of phoTojournalism now online www.gale.cengage.co.uk/picturepost THe PICTURE POST HiSToRiCAl ARCHiVe, 1938-1957 The Picture Post Historical Archive, 1938-1957 is the complete, fully text searchable facsimile archive of the Picture Post, the iconic newspaper published in Britain from 1938-1957 that defi ned the style of photojournalism in the 20th century. As the latest addition to Gale Historical Newspaper Collections, the Picture Post provides students and researchers with online access to a remarkable visual record of the 1930s to 1950s – from the humorous and light-hearted snapshots of daily life in Britain to the serious and history-defi ning moments of domestic and international affairs. The online archive consists of the complete run of the paper – from its fi rst issue in 1938 to its last in 1957 – and includes almost 50,000 pages, all newly digitised from originals in full colour. Time-saving features such as multiple search paths, browse options and limiters allow users to pinpoint results quickly. Increasing the speed and the effi cacy of teaching and research, users can magnify and crop images as required and store results and save notes in a named user account across sessions. SEARCH FEATURES AND FUNCTIONALITY Home page • Basic Search • Advanced Search by index types – Entire Document, Article Title, Caption, Contributor Name, Keyword, Record Number • Limit Searches by Publication Date, Article Type, or Illustration Type • Browse by Issue or Contributor • Sophisticated Image Viewer -
Photo Journalism
Photojournalism Telling the story pho·to·jour·nal·ism Photojournalism is a branch of journalism focused on using images to tell a story. the art or practice of communicating news by photographs, especially in magazines. What is a photojournalist? A journalist tells stories. A photographer takes pictures of nouns (people, places and things). A photojournalist takes the best of both and locks it into the most powerful medium available - frozen images. What does it take to be a great journalist? A great journalist cares about people and an ideal world. A great journalist can approach a topic as vast as the universe and make it simple and interesting to both Einstein and the new immigrant, who is trying to learn the language. Photography vs photojournalism what's the difference between photography and photojournalism? Photography vs photojournalism what's the difference between photography and photojournalism? VERBS What makes a photojournalist different from a photographer? Photographers take pictures of nouns (people, places and things). Photojournalists shoot action verbs ("kicks," "explodes," "cries," etc.). Photojournalists do shoot some nouns. These nouns can be standard photos of people (portraits), places (proposed zoning areas or construction sites) and things (name it). However, the nouns we seek still must tell a story. To tell a story you need… a sentence which needs a subject, a verb a direct object. News photos need the same construction. Photojournalists tell stories with their images. Also, words are always used in conjunction with photojournalist's images. Here’s an Example :0) Rose is painting the kitchen walls. The subject here is Rose, and what is Rose doing? Rose is painting. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Valuing Subjectivity in Journalism: Bias, Emotions, and Self-Interest As Tools in Arts Reporting
Original Article Journalism Valuing subjectivity in journalism: Bias, emotions, and self-interest as tools in arts reporting Phillipa Chong McMaster University, Canada Abstract This article examines the meanings and norms surrounding subjectivity across traditional and new forms of cultural journalism. While the ideal of objectivity is key to American journalism and its development as a profession, recent scholarship and new media developments have challenged the dominance of objectivity as a professional norm. This article begins with the understanding that subjectivity is an intractable part of knowing (and reporting on) the world around us to build our understanding of different modes of subjectivity and how these animate journalistic practices. Taking arts reporting, specifically reviewing, as a case study, the analysis draws on interviews with 40 book reviewers who write for major American newspapers, including The New York Times, The Los Angeles Times, The Washington Post, and prominent blogs. Findings reveal how emotions, bias, and self-interest are salient – sometimes as vice and sometimes as virtue – across the workflow of critics writing for traditional print outlets and book blogs and that these differences can be conceptualized as different epistemic styles. Keywords Blogs, emotion, literary journalism, newspapers, online media, practice, subjectivity/ objectivity Introduction Objectivity has long been the gold standard in American journalism and was key to its development into a profession (Benson and Neveu, 2005; Schudson, 1976). Yet Corresponding author: Phillipa Chong, Department of Sociology, McMaster University, 609 Kenneth Taylor Hall, 1280 Main Street West, Hamilton, ON L8S 4M4, Canada. Email: [email protected] Chong 2 scholars have complicated the picture by pointing to the unattainability of objectivity as an ideal with some noting the increasing acceptance of subjectivity across different forms of journalism (Tumber and Prentoulis, 2003; Wahl-Jorgensen, 2012, 2013; Zelizer, 2009b). -
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. -
Should Kids Be Allowed to Buy
DECEMBER 21, 2020 ISSN 1554-2440 No. 10 Vol. 89 Vol. BIG DEBATE Should Kids Be Allowed to Buy Some places in WATCH Mexico have banned THESE VIDEOS! . SCHOLASTIC.COM/SN56 kids from buying junk Find out what’s hiding in junk food food. Should we do Titanic. the same in the U.S.? Explore the Become an expert on hurricanes. BIG DEBATE Should You Be Banned From Buying AS YOU READ, THINK ABOUT: What are ways that eating too much junk food can affect your health? magine going to a store and not being allowed to buy a bag of chips. The reason? You’re too young! What exactly is That’s what may happen in one state in Mexico, which junk food? I It’s food and drinks that recently banned the sale of unhealthy snacks and sugar- sweetened drinks to kids younger than 18. Several other are high in fat, salt, or Mexican states are considering passing similar laws. sugar and have little The goal of these bans is to improve kids’ health. nutritional value. Research shows that eating too much junk food can lead to obesity—the condition of being severely overweight. People with obesity are at higher risk for health problems such as heart disease and type 2 diabetes. But some people argue that a ban on buying junk WORDS TO KNOW food isn’t a good way to change kids’ eating habits. calories noun, plural. units that measure the amount of energy Should states in the U.S. also consider banning the released by food in the body sale of junk food to kids? consequences noun, plural. -
Telling Stories to a Different Beat: Photojournalism As a “Way of Life”
Bond University DOCTORAL THESIS Telling stories to a different beat: Photojournalism as a “Way of Life” Busst, Naomi Award date: 2012 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. Telling stories to a different beat: Photojournalism as a “Way of Life” Naomi Verity Busst, BPhoto, MJ A thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy School of Media and Communication Faculty of Humanities and Social Sciences Bond University February 2012 Abstract This thesis presents a grounded theory of how photojournalism is a way of life. Some photojournalists dedicate themselves to telling other people's stories, documenting history and finding alternative ways to disseminate their work to audiences. Many self-fund their projects, not just for the love of the tradition, but also because they feel a sense of responsibility to tell stories that are at times outside the mainstream media’s focus. Some do this through necessity. While most photojournalism research has focused on photographers who are employed by media organisations, little, if any, has been undertaken concerning photojournalists who are freelancers. -
II-17 Page Layouts.Pdf
Chapter II-17 II-17Page Layouts Overview.......................................................................................................................................................... 389 Page Layout Windows ................................................................................................................................... 390 Page Layout Names and Titles .............................................................................................................. 390 Hiding and Showing a Layout............................................................................................................... 390 Killing and Recreating a Layout............................................................................................................ 390 Page Layout Zooming............................................................................................................................. 390 Page Layout Background Color............................................................................................................. 390 Page Layout Pages .......................................................................................................................................... 391 The Page Sorter ........................................................................................................................................ 391 Page Layout Page Sizes........................................................................................................................... 391 Compatibility with