He traces the intellectual roots of the movement and shows how journalism can be made vital again by rethinking exactly what journalists are for."--Jacket.

A study of the representation of journalists on film and what this tells us about society's relationship with journalism and news media.

This straightforward and effective how-to guide provides the basics for any reporter or journalism student beginning to use data for news stories. It has step-by-step instructions on how to do basic data analysis in journalism while addressing why these digital tools should be an integral part of reporting in the 21st century. In an ideal core text for courses on data-driven journalism or computer-assisted reporting, Houston emphasizes that journalists are accountable for the accuracy and relevance of the data they acquire and share. With a refreshed design, this updated new edition includes expanded coverage on social media, scraping data from the web, and text-mining, and provides journalists with the tips and tools they need for working with data.

We live in a profoundly challenging era for journalists. While the profession has historically taken on the mantle of providing clear, sound information to the public, journalists now face competition from dubious sources online and smear campaigns launched by public figures. In The Power of Journalists, four of the United Kingdom’s foremost journalists—Nick Robinson, Barbara Speed, Charlie Beckett, and Gary Gibbon—give on-the-ground accounts of how they’ve weathered some of the most significant political events of the past five years, including the referendum on Scottish independence and Brexit. These monumental political decisions exposed each journalist to the dangerous vicissitudes of public opinion, and made them all the more certain of their mission. In describing the role of the journalist as truth-teller and protector of impartiality as well as interpreter of controversial facts and trusted source of public opinion, they issue a clarion call for good journalism.

A fashionable house in a London terrace, the House of Journalists is renowned around the world as a place of refuge for exiled writers who have fallen foul of oppressive regimes. Run by Julian Snowman, successful writer and broadcaster, its fellows include the newspaper editor Mr Stan whose hands were smashed with hammers; a journalist called Mustapha who spoke out vainly against a brutal coup (and got his name from an immigration officer who tells him he âe~Must âe~ave a nameâe(tm)); Agnes, a young photojournalist who recorded her countryâe(tm)s descent into civil war; and Sonny, who endured a harrowing journey to safety. Only one man guards his story: the new fellow, AA. A first novel of rare originality, The House of Journalists creates an unforgettable world of displacement and hubris, heartbreak and humour; it has a narrative voice that is utterly distinct, at once beguiling and disturbing.

A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.

It is becoming increasingly important for television reporters to be proficient in many, if not all, of the steps in production. The Solo Video Journalist will make handling all these responsibilities seem possible, and do so from the hands-on perspective of a current reporter with years of experience as a multimedia journalist. This book will cover all aspects of multimedia journalism, from planning for a segment, to dressing appropriately for one’s multiple roles, to conducting interviews and editing. The instruction and guidance in this text will help make readers valuable players in their field, and it is filled with real-world examples and advice from current professionals. Whether it be college students learning from the ground up or journalists early in their careers, The Solo Video Journalist ensures they will have all the materials they need to be successful multimedia journalists.