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"The writing of this book about Herzl's journalistic stories answers a need. Because Herzl's feuilletons have not been republished or even translated into English, it is timely in the words of the English scholar Edward Timms that an effort be made to fill this gap." "This gap is largely due to a misunderstanding about the content of his stories as being of relevance to Herzl's Zionist outlook. People have failed to recognize that Herzl "came to his task with the equipment of the perfect feuilletonist." According to Louis Lipsky, the noted American editor, and also Alex Bein, the biographer of Herzl, the journalistic stories were an apprenticeship preparing him for his Zionist work. To his readers' delight, he, Herzl, was able to capture scenery "in a few clear strokes." The lucidity of Herzl's language persuades Jacques Kornberg to suggest that Herzl's stylistic innovations come "close to the style of today's New Yorker magazine." The great variety of Herzl's interests which he presented to his readers assured him of a constant and faithful readership, who, like the authors Arthur Schnitzler and Stefan Zweig, were charmed by his always jourwitty and at times ironic writings that impress us with their relevance."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This compelling, often surprising book demonstrates the ways news articles of today draw from age-old tales that have chastened, challenged, entertained, and entranced people since the beginning of time. Through an insightful exploration of hundreds of New York Times articles, award-winning professor and former journalist Jack Lule reveals mythical themes in reporting on topics from terrorist hijackings to Huey Newton, from Mother Teresa to Mike Tyson. Beneath the fresh facade of current events, Lule identifies such enduring archetypes as the innocent victim, the good mother, the hero, and the trickster. In doing so, he sheds light on how media coverage shapes our thinking about many of the confounding issues of our day, including foreign policy, terrorism, race relations, and political dissent. Winner of the MEA's 2002 Lewis Mumford Award for Outstanding Scholarship in the Ecology of Technics
A look at the history of the idea of the objective journalist and how this very ideal can often be used to undercut itself. In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry. The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.
Few topics in the news are more hotly contested than the Israeli-Palestinian conflict—and news coverage itself is always a subject of debate. But rarely do these debates incorporate an on-the-ground perspective of what and who newsmaking entails. Studying how journalists work in Jerusalem, Bethlehem, Ramallah, and Nablus, and on the tense roads that connect these cities, Amahl Bishara demonstrates how the production of U.S. news about Palestinians depends on multifaceted collaborations, typically invisible to Western readers. She focuses on the work that Palestinian journalists do behind the scenes and below the bylines—as fixers, photojournalists, camerapeople, reporters, and producers—to provide the news that Americans read, see, and hear every day. Ultimately, this book demonstrates how Palestinians play integral roles in producing U.S. news and how U.S. journalism in turn shapes Palestinian politics. U.S. objectivity is in Palestinian journalists' hands, and Palestinian self-determination cannot be fully understood without attention to the journalist standing off to the side, quietly taking notes. Back Stories examines news stories big and small—Yassir Arafat's funeral, female suicide bombers, protests against the separation barrier, an all-but-unnoticed killing of a mentally disabled man—to investigate urgent questions about objectivity, violence, the state, and the production of knowledge in today's news. This book reaches beyond the headlines into the lives of Palestinians during the second intifada to give readers a new vantage point on both Palestinians and journalism.
"This is the provocative argument that drives William McGowan's Coloring the News, a brave, searching work that examines journalism's most controversial issue. McGowan presents a fascinating insider's analysis of how a well-intentioned attempt to accommodate minorities and minority viewpoints has been overtaken by political correctness, which determines what stories get reported in the "elite" media and how. Along the way he dissects how the press has "mistold" key stories including California's Proposition 209 vote, the allegedly "racist" burnings of black churches in the South, the military's ongoing problems with the integration of women and gays, and the consequences of a chaotic immigration policy."--BOOK JACKET.
When we encounter a news story, why do we accept its version of events? Why do we even recognize it as news? A complicated set of cultural, structural, and technological relationships inform this interaction, and Journalistic Authority provides a relational theory for explaining how journalists attain authority. The book argues that authority is not a thing to be possessed or lost, but a relationship arising in the connections between those laying claim to being an authority and those who assent to it. Matt Carlson examines the practices journalists use to legitimate their work: professional orientation, development of specific news forms, and the personal narratives they circulate to support a privileged social place. He then considers journalists' relationships with the audiences, sources, technologies, and critics that shape journalistic authority in the contemporary media environment. Carlson argues that journalistic authority is always the product of complex and variable relationships. Journalistic Authority weaves together journalists’ relationships with their audiences, sources, technologies, and critics to present a new model for understanding journalism while advocating for practices we need in an age of fake news and shifting norms.
"Investigative Journalism means the unveiling of matters that are concealed either deliberately by someone in a position of power, or accidentally, behind a chaotic mass of facts and circumstances - and the analysis and exposure of all relevant facts to the public. In this way investigative journalism crucially contributes to freedom of expression and freedom of information, which are at the heart of UNESCO's mandate. The role media can play as a watchdog is indispensable for democracy and it is for this reason that UNESCO fully supports initiatives to strengthen investigative journalism throughout the world. I believe this publication makes a significant contribution to promoting investigative journalism and I hope it will be a valuable resource for journalists and media professionals, as well as for journalism trainers and educators." -- Jānis Kārklinš, Assistant Director-General for Communication and Information, UNESCO, Preface, page 1.
Trauma Reporting provides vital information on developing a healthy, professional and respectful relationship with those who choose to tell their stories during times of trauma, distress or grief. Amid a growing demand and need for guidance, this fascinating book is refreshingly simple, engaging and readable, providing a wealth of original insight. As an aspiring or working journalist, how should you work with a grieving parent, a survivor of sexual violence, a witness at the scene of a traumatic event? How should you approach people, interview them and film with them sensitively? Trauma Reporting features guidance from some of the industry’s most successful news correspondents and documentary makers, including Louis Theroux, Lucy Williamson, Tulip Mazumdar, Richard Bilton, Jina Moore and many more, all sharing their experience and expertise. It also features people who chose to tell their sensitive stories to journalists, giving readers invaluable insight into what helped and what harmed. The book also includes: What your interviewees may be going through and how best to respond, by trauma expert Professor Stephen Regel. A discussion on ethics, rules and regulations by Dr Sallyanne Duncan of the University of Strathclyde. Making sure you look after yourself, by Dr Cait McMahon of the Dart Center for Journalism and Trauma. Insightful and innovative, this book is essential for new and established journalists across all media, students of journalism and broadcasting, and anyone who wishes to share the stories of those affected by trauma.
As cash-strapped metropolitan newspapers struggle to maintain their traditional influence and quality reporting, large national and international outlets have pivoted to serving readers who can and will choose to pay for news, skewing coverage toward a wealthy, white, and liberal audience. Amid rampant inequality and distrust, media outlets have become more out of touch with the democracy they purport to serve. How did journalism end up in such a predicament, and what are the prospects for achieving a more equitable future? In News for the Rich, White, and Blue, Nikki Usher recasts the challenges facing journalism in terms of place, power, and inequality. Drawing on more than a decade of field research, she illuminates how journalists decide what becomes news and how news organizations strategize about the future. Usher shows how newsrooms remain places of power, largely white institutions growing more elite as journalists confront a shrinking job market. She details how Google, Facebook, and the digital-advertising ecosystem have wreaked havoc on the economic model for quality journalism, leaving local news to suffer. Usher also highlights how the handful of likely survivors—well-funded media outlets such as the New York Times—increasingly appeal to a global, “placeless” reader. News for the Rich, White, and Blue concludes with a series of provocative recommendations to reimagine journalism to ensure its resiliency and its ability to speak to a diverse set of issues and readers.
A journalistic collection in comic book format from the sid3elines of wars around the world includes articles on the American military in Iraq, the Caucasus widow trials, the dilemmas of India's "untouchables," and the smuggling tunnels of Gaza.