Communications and Media Studies
Stories with no substance. Talking heads without a clue. “Team” coverage that still misses the big picture. Overheated hype. Cute chatter. Film at eleven. Is it any wonder more and more of us count less and less on the news? “It used to be that a news story told you who, what, where, when, how, and why,” Art Athens writes. “Now the story might tell you who, or it might tell you when, but there’s a good chance that when it’s over (which won’t take long), you’ll be the one saying What?” Here’s a legendary journalist’s back to the basics guide to the craft of broadcast news. Combining insights from his own award-winning career with in-depth conversations with leading newspeople, Art Athens offers a primer on the best practices in reporting, writing, and delivering the news. And he lets some of the best in the business talk frankly and passionately about what it takes to do the job right: Dan Rather, Charles Osgood, Mike Wallace, Brian Williams, Andy Rooney, Charles Kuralt, Linda Ellerbee, and Don Hewitt. What kind of skills—and spirit—does it take to be a successful, serious broadcast journalist? How are the good stories conceived and written? And in today’s cynical age of news as entertainment, what should reporters and editors do to restore confidence in the media? In this funny, sharp, honest book, anyone who cares about the news will find answers on every page.
From Chaplin’s brilliant use of Wagner in The Gold Rush to the Bach chorale closing Scorsese’s Casino, classical music has played a fascinating role in movies.
Dean Duncan provides a fresh critical survey of the aesthetics of classical music in film. Exploring tensions between high art and commercial culture, Duncan examines how directors quote themes and classical passages in genres ranging from the Soviet avant garde to Hollywood romances. Drawing on film theory, musicology, and cultural criticism, he clarifies the connections between two very different art forms.
For the Record focuses on the experiences of journalists, primarily in their own words, who worked in Rochester, New York, on the Gannett owned Democrat & Chronicle and the Times Union.
While there are occasional glimpses back to the beginning of the twentieth century and conversations regarding current newsroom policies by those who are still involved in the business, most of the material in this study centers on Gannett during the 1940s, 1950s, and 1960s-a period that may be seen as pivotal to the development of the Gannett Company.
Although there is an enormous wealth of material available on the lives of editors, publishers, and owners of newspapers, the history of newsworkers remains quite limited. Brennen's primary intention for this project is to give voice to these newsworkers, investigating their work environment, routines, and expectations. Journalists shared their favorite stories, best interviews, greatest challenges, and most frustrating experiences with Brennen.
In giving voice to those previously marginalized, this oral history project may help us to reach a deeper understanding of the challenges and realities newsworkers face in the United States.
This selection of essays, articles, lectures, and other writings by Erik Barnouw, dean of American media scholars, chronicles “the phenomenon of old media giving way to new, and then being replaced by them, as the ghosts of old media rise in new forms.” In Media Lost and Found, the sixteenth century will introduce us to early stirrings of photography, as well as the rise of “black lists,” which have a too-familiar ring within our own lifetime.
The collection begins with an article on documentary film pioneer Robert Flaherty. Barnouw then moves to a discussion of his Dutch heritage and its role in Western civilization. This is followed by fascinating accounts of ingenious pioneers of camera obscura and magic lantern phantasmagoria, precursors of the magic of motion pictures. There are lively accounts of Barnouw’s own experiences, an informative brief history of communications breakthroughs, and an examination of the foibles of media censorship. The final articles discuss the importance of Indian filmmaker Satyajit Ray and cinematographer Boris Kaufman, brother of Soviet filmmakers Djiga Vertov and Mikhail Kaufman.
In his writing and in his life, Erik Barnouw has been consistently elegant, self-deprecating, affectionate, and redolent of great depths, encouraging us to look for and foster them in our own lives.
Murrow is the biography of America’s foremost broadcast journalist, Edward R. Murrow. At twenty-nine, he was the prototype of a species new to communications—an eyewitness to history with power to reach millions. His wartime radio reports from London rooftops brought the world into American homes for the first time. His legendary television documentary See It Now exposed us to the scandals and injustices within our own country. Friend of Presidents, conscience of the people, Murrow remained an enigma—idealistic, creative, self-destructive. In this portrait, based on twelve years of research, A. M. Sperber reveals the complexity and achievements of a man whose voice, intelligence, and honesty inspired a nation during its most profound and vulnerable times.
When Giants Ruled takes the reader behind the scenes of a century of newspaper life. It relates how Benjamin Day, a job printer desperate for more money, started The Sun and inadvertently established the first successful daily for the masses. His main rival was James Gordon Bennett the Elder, whose innovations and success culminated in the most unusual war in journalism: an attempt by rival publishers to halt his efforts to revolutionize the press and to exterminate his Herald.
During the Civil War, with only Lincoln excluded, no person had greater sway upon the nation’s thinking than Horace Greeley. Venom spewed between Bennett and Greeley reached unprecedented heights until Charles Anderson Dana became overlord of Park Row and tangled with the crusading Joseph Pulitzer. Bennett’s eccentric son did not wait for news to happen; he made it. The devastating circulation war between Pulitzer and William Randolph Hearst reached a climax with the Spanish- American War. Hearst’s sensationalism remained foremost with the masses until Joseph Patterson produced the most successful tabloid of the twentieth century. An epilogue connects the Park Row era to today’s New York press.
