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This book introduces the concepts surrounding media relations and explains current media and communications practices, from both theoretical and practical perspectives. (Midwest).
Following the huge success of Swimming Pool, Mária returns with a new collection of her photography in a limited edition book.
For the past five years cartoonist Dakota McFadzean has been drawing a four panel comic strip every day and posting to his website (www.dakotamcfazean.com). EVERY DAY! This is a remarkable achievement -- though a schedule familiar to any syndicated newspaper cartoonist -- but in the digital age artists can do it themselves. Inspired by James Kochalka's American Elf, McFadzean began the project in January 2010, originally as an autobiographical daily. Soon, however, it morphed into its current state: death, cosmic insignificance, facial mutation, and ghosts are all used to point out the absurdity of life and the fundamental loneliness of the human condition, more often than not to humorous effect. McFadzean features characters with disparate ages in these strips because they provide different perspectives on related experiences. A kid character is experiencing everything for the first time, but an older one may wonder if he's experiencing something for the last time. This collection of The Dailies will document three years of sequential strips into one handsome package.
Between the 1970s and the 1990s American journalists began telling the news by telling stories. They borrowed narrative techniques, transforming sources into characters, events into plots, and their own work from stenography to anthropology. This was more than a change in style. It was a change in substance, a paradigmatic shift in terms of what constituted news and how it was being told. It was a turn toward narrative journalism and a new culture of news, propelled by the storytelling movement. Thomas Schmidt analyzes the expansion of narrative journalism and the corresponding institutional changes in the American newspaper industry in the last quarter of the twentieth century. In doing so, he offers the first institutionally situated history of narrative journalism’s evolution from the New Journalism of the 1960s to long-form literary journalism in the 1990s. Based on the analysis of primary sources, industry publications, and oral history interviews, this study traces how narrative techniques developed and spread through newsrooms, advanced by institutional initiatives and a growing network of practitioners, proponents, and writing coaches who mainstreamed the use of storytelling. Challenging the popular belief that it was only a few talented New York reporters (Tome Wolfe, Jimmy Breslin, Gay Talese, Joan Didion, and others) who revolutionized journalism by deciding to employ storytelling techniques in their writing, Schmidt shows that the evolution of narrative in late twentieth century American Journalism was more nuanced, more purposeful, and more institutionally based than the New Journalism myth suggests.
The fourth estate.