Sunday, November 30, 2008

NewsHounds: What Is News?

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WHAT IS NEWS?
(See pp. 36-37 in Harrower)

NEWS IS . . . .
. . . timely (new!)
. . . nearby (proximity: 1. geographic; 2. what other kinds?)
. . . about prominent/important people/things (who is “important”?)
. . . about human beings (human interest; children, baby ducks and puppies)
. . . about conflict, tension, competition, disagreement.
. . . about novelty—the weird, novel and unusual (“Gee whiz!” Man bites dog, etc.)
. . . about consequenceSo what?—impact; it is relevant/important/useful to people’s lives (discuss selective perception; “News you can use.”)

When Writing News: Use THE FRED RULE (Explanation to follow)

Questions to ask yourself in deciding what’s news: What do you know? So what? What’s most important? (WHY?) Rank-order the information in descending order of importance.
WWWWWH

WHO did WHAT? WHERE? WHEN?
(WHY?) (HOW?)

Tuesday, November 25, 2008

End-of-Semester Straight Talk

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NOTE: Jacob Neusner, a former professor of religious studies at Brown University, now at Bard College, and a noted Judaic scholar, wrote the following article for the Brown Daily Herald in the early 1980s as a commencement address he knew would never be delivered. He was offended by the erosion of standards in higher education, he explained, not only among students but among faculty members who could restore academic excellence, but won't. It has been my habit since I first saw this piece reprinted in 1983, to submit it to the campus newspaper where I was teaching at commencement time, as a caveat to those who would teach as well as to those who would learn.
T. Pease

So go, unlearn the lies we taught you

By Jacob Neusner

We the faculty take no pride in our educational achievements with you. We have prepared you for a world that does not exist, indeed, that cannot exist.

You have spent four years supposing that failure leaves no record. You have learned at Brown that when your work goes out poorly, the painless solution is to drop out.

But starting now, in the world in which you go, failure marks you. Confronting difficulty by quitting leaves you changed. Outside Brown, quitters are no heroes.

With us you could argue about why your errors were not errors, why mediocre work really was excellent, why you could take pride in routine and slipshod presentation. Most of you, after all, can look back on honor grades for most of what you have done. So, here grades can have meant little in distinguishing the excellent from the ordinary.

But tomorrow, in the world in which you go, you had best not defend errors but learn from them. You will be ill-advised to demand praise for what does not deserve it and abuse those who do not give it.

For four years we created an altogether forgiving world, in which whatever slight effort you gave was all that was demanded. When you did not keep appointments, we made new ones. When your work came in beyond the deadline, we pretended not to care.

Worse still, when you were boring, we acted as if you were saying something important. When you were garrulous and talked to hear yourself talk, we listened as if it mattered. When you tossed on our desks writing upon which you had not labored, we read it and even responded, as though you had earned a response.

When you were dull, we pretended you were smart. When you were predictable, unimaginative and routine, we listened as if to new and wonderful things. When you demanded free lunch, we served it. And all this why?

Despite your fantasies, it was not even that we wanted to be liked by you. It was that we did not want to be bothered, and the easy way out was pretense: smiles and easy Bs.

It is conventional to quote in addresses such as these. Let me quote someone you've never heard of, Professor Carter A. Daniel, Rutgers University:

College has spoiled you by reading papers that don't deserve to be read, listening to comments that don't deserve a hearing, paying attention even to the lazy ill-informed and rude. We had to do it for the sake of education. But nobody will do it again. College has deprived you of adequate preparation for the next 50 years. It has failed you by being easy, free, forgiving, attentive, comfortable, interesting, unchallenging fun. Good luck tomorrow. (Chronicle of Higher Education, May 7, 1979)

That is why, on this commencement day, we have nothing in which to take much pride.

Oh, yes, there is one more thing. Try not to act toward your co-workers and bosses as you have acted toward us. I mean, when they do not give you what you want but have not earned, don't abuse them, insult them, act out with them your parlous relationships with your parents. This, too, we have tolerated. It was, as I said, not to be liked.

Few professors actually care whether or not they are liked by peer-paralyzed adolescents, fools so shallow as to imagine professors care not about education but about popularity. It was, again, to be rid of you.

So go, unlearn the lies we taught you. To life!

Note: Neusner is now Distinguished Service Professor of the History and Theology of Judaism, and a Senior Fellow, Institute of Advanced Theology, at Bard College in Annandale-on-Hudson, New York.

Thursday, November 13, 2008

Film Project—Research Tips

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Katie’s Research Tips

Kate Reeves is TA in Professor Cooper’s section of Smarts. She offers the following tips that might be useful to you in researching your film projects and papers. TP

~ ~ ~ ~ ~

I know some of you are having a hard time finding good information about the real events that your movies are based on. Here are some places that you can find good information that will be helpful. You want to be using good, reliable information, not personal blogs or websites.

Google (www.google.com):
If you know nothing about your topic, I’d suggest doing a couple of simple Google searches with the title of the movie or the main character so that you understand the basic background of the historical event. You don’t necessarily need to cite all of this, you can just use it for background so that you understand what happened.

Wikipedia
(www.wikipedia.org):
Do NOT cite Wikipedia in your project. Do NOT quote from it! But, if you know very little about your topic, it is a good starting place. Type in the name of the film, the name of the main character or the topic i.e. “Rwandan Genocide.” At the bottom of the page there will be links to legitimate sources. Use those links. It might help you discover what you want to look for in your research.

Library Databases (http://library.usu.edu/main/inabs/index.php):
USU spends thousands of dollars each year to purchase access to online databases. You should be taking advantage of them. For this project I would recommend the Academic Search Premier, Ebsco Host, or Lexis Nexis (if you want news articles). These will link you to academic journals and news articles. Since all of your topics are historical you should be able to find information about the real events and possibly some information about the movies.

New York Times Historical (http://proquest.umi.com/pqdweb?RQT=302&COPT=U01EPTYmSU5UPTAmVkVSPTImREJTPTFBQ0Q@&clientId=1652&cfc=1):
Everything printed in the New York Times from 1851-2005. If you are looking for materials after 2005 you can find it on Lexis Nexis.

Library Catalog (https://129.123.124.103/uPortal/Initialize?uP_reload_layout=true&uP_tparam=props&uP_sparam=activeTab&activeTab=1):
Most of your historical events happened 15-100 years ago. People have written entire books on your subjects. Look on the Library Catalog and see if the USU library has a book that on your topic. You don’t have to read the entire book, but they can be very valuable resources.

I hope this helps you get an idea of where you can get information.
Katie

Tuesday, November 11, 2008

Film Project—Presentation Outline

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Film & History Project: Presentation Outline

A
detailed outline of your team project and presentation is due at the time of your in-class presentation. Please follow this basic guideline (additional supporting materials may be attached, if you like). Please also hand in your video exhibits/clips with the outline.

Team name:
Team members:
Title of movie analyzed:

1. Brief synopsis of the person, event, conflict on which the film is based.
A.
B.
C.

2. Major themes of the film.

A.
B.
C.

3. Major differences between historical record, coverage in
The New York Times (or other newspapers) & film translation.
A.
B.
C.

4. Major similarities between historical record, coverage in
The New York Times (or other newspapers) & film translation.
A.
B.
C.

5. Relate to media effects theories and media literacy concepts.
How does the film construct a specific version of reality and what is the significance of the Hollywood version? In other words, whose stories are told? Whose stories are omitted? What is the significance of how the story is framed? What ideological perspectives are reinforced or challenged?
A.
B.
C.

6. Team member names and role each played. Be specific.

A. Preparation for the presentation
B. Roles, characters played during the presentation

7. List of References: Complete citation list for all sources.

(APA or MLA style required)

Film Project—Team Evaluation

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Team Evaluation: Journalism, History & Hollywood

Directions: Each team member must complete this evaluation form and submit it to Professor Pease on the date of the team presentation. This is designed to provide you with the opportunity to rate your team members’ contributions and participation in the project. All evaluations are confidential.

Please rate each team member, including yourself, in terms of substantive contributions to the assignment and final product. The total must add up to 100%. For example, if you have five team members and feel that each contributed equally to the assignment, then you would assign each team member 20%. If, however, of the five team members, one member did much more work than others, you might assign 40% to that team member, and 15% to the other four team members.

Team name:__________________________________________

Your name_______________________________ Percentage of work:_______

Team member name_________________________ Percentage of work:_______

Team member name_________________________ Percentage of work:_______

Team member name_________________________ Percentage of work:_______

Team member name_________________________ Percentage of work:_______

Smarts Movie Analysis Project (F08)

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FINAL PROJECT: Media, History & Hollywood

PROJECT GOAL: To identify how events, people, issues and media ethics are framed and depicted in Hollywood films. Film research demonstrates that when history is translated to the silver screen, the events and people depicted are often diluted, distorted and fabricated, privileging the stories of men over women, Caucasians over people of color, and privileging and reinforcing the dominant power structures of American society. Filmmakers choose what to include and exclude from history, thus films work to reshape and reinterpret social reality and historical memory. Working with your teams, you’ll analyze how mainstream Hollywood films have depicted some of these events and people by comparing the Hollywood film version to historical accounts and news stories.

Assignment: This is your major term project. Working in teams, select three films as a possible focus for your project. Write me a memo as a team pitching your three picks, describing them (blurb) and explaining briefly why you think each would be an interesting choice for analysis. This memo is due in class Thursday, and each team will make a presentation to the whole class on your picks and rationales so we can discuss as a group. Pick movies from the list below, or propose other films that you think might work.

As a team, you will research the historical epoch and events depicted in your movie; analyze your selected movie, identifying the movie’s major themes and compare them to historical facts. How does the film frame historical events? How do the facts privilege or distort the historical record? Do the film narratives work to privilege or challenge the dominant ideologies underlying all levels of American society? How? What issues related to media ethics can you relate to the film’s construction of reality?

Team Presentations: Develop a 20-minute team presentation on your film and the historical record. In thinking about your team presentation, please remember that you will need to use examples from your film, but the entire presentation cannot just be showing video clips. Select scenes that illustrate the key points you want to make. At the time of the presentation, each team hands in a detailed outline describing 1) the major points of your presentation, 2) the role each team member played in the project, and 3) all sources used in researching the film. NOTE: Teams must pick presentation dates; see below.

YouTube note: Just because the clip is available on You Tube does not mean it’s the beset option to support the points your team makes. Trailers are rarely useful.

Individual Research Papers: Working from your team analyses, each of you will write your own 10- 12-pp. term paper comparing your film and the historical record. These papers will focus on how film versions may have varied from what really happened, and explore both reasons why (who is privileged and who is not?) and how the film versions may have worked to skew audience perceptions of actual events, thus, perhaps, remaking history in the public consciousness. (More specific paper instructions to follow.) Individual papers are due on the day of your team presentation.

Tips for doing a critical film analysis: Your goal is to analyze the film in terms of how the historical events, issues and people are represented, not simply to do a plot summary. Here are some questions to help you identify the major ideological perspectives operating in the film narratives.
1. Search for historical information about the events and people depicted in the movies. Identify the differences between the historical and film versions. You may also include current events and issues related to the issues addressed in the movie (e.g., immigration, racism, homophobia, ethnocentrism, sexism, classism, etc.)
2. How does the director present issues related to diversity (e.g., gender, race, ethnicity) in the film?
3. Could the director have portrayed the events and people in a more responsible way (be sure to explain how you are defining “responsible filmmaking”).
4. What themes, characters, elements of the film provided new insight? What themes, arguments, elements of the story challenged your current way of looking at the issues raised by the film?
5. What does the film teach us about racial and ethnic diversity? Gender? International issues? Politics? War?
6. Use specific examples from the film to illustrate your major arguments and conclusions.
7. How does the film represent challenges made to dominant cultural ideologies?
8. How can you relate the principles of media literacy and media effects theories to the film narratives?

Some Dominant Ideologies & Concepts to Consider:
Capitalism: Economic system of private and corporate ownership; distribution of wealth and goods determined by free market enterprise and competition.
Christianity: Religion based on the Bible and teachings of Jesus Christ. (FYI: Approximately 33% of the world’s population practices Christianity).
Democracy: Government of the citizens of a country, determined by majority rule, based on elected representatives.
Ethnocentrism: “Our people are better than your people.” In other words, belief that one’s own culture, nation, or ethnicity is superior to all others.
Heteroideology: Sexuality is natally ascribed, immutable and natural, and heterosexuality is an integral aspect of human intelligence and nature (Scheman, 1997).
Patriarchy: “[A]ny kind of group organization in which males hold dominant power and determine what part females shall and shall not play, and in which capabilities assigned to women are relegated” to domestic realms and excluded from political realms (Dow, 1996).
White Privilege: The “everyday, invisible, subtle cultural and social practices, ideas and codes that discursively secure the power and privilege of white people” the “discursive processes through which whiteness secures its normalized cultural dominance.” (Gorham, 1999; Shome, 1996).

Web Sources: Using online sources is fine, providing the sources are reliable and credible. That means that in addition to not using Wikipedia, info from blogs, etc., or other sources that can’t be confirmed is unacceptable. Sources for this assignment should include newspapers, news magazines, academic articles or books, film reviews from reliable sources (e.g., The New York Times). Britt Fagerheim in the Library can help you find sources.

All web sources web sites are NOT created equal. There is no screening process for web information, no fact-checking and no way of knowing how accurate the information you retrieve is. When you use a commercial search engine (like Google) the program will retrieve all sites that contain the words you have typed in, regardless of accuracy. It is imperative for you to access the web info you find. This is a (quasi) journalism course and, as we’ve discussed, nothing is more important to journalism than accuracy and credibility.

Dates:
TH Oct. 24: Teams select top three movie choices and present them and rationales to class
TH Oct. 30: Team Day: meet to work on project.
TH Nov. 13: Team Day: meet to work on project.
TH Nov. 20: Presentation Day—Team ANFSCD & Team PPs
T Dec. 2: Presentation Day—James’ Angels & Twizzle Wizzle
TH Dec. 4: Presentation Day—Team EDD & the Muckrakers

Films
(Summaries from www.imbd.com; www.rottentomatoes.com; www.metacritic.com)
Ali (2001). (R). A biography of sports legend, Muhammad Ali (Will Smith), from his early days to his days in the ring and the racism he encountered.
Black Hawk Down (2001). Based the 1993 U.S. Army mission in Somalia where nearly 100 Rangers were dropped by helicopter deep into Mogadishu to capture two top lieutenants of a Somali warlord.
Blood Diamond (2006). Fictional account of the civil unrest and trade in blood diamonds in Sierra Leone.
Bury My Heart at Wounded Knee (2007). Story of how American Indians were displaced as the U.S. expanded west during the 19th century.
Flags of Our Fathers (2006). Life stories of the six men who raised the flag at the Battle of Iwo Jima during WWII.
Erin Brockovich (2000) (R): An unemployed single mother who exposes illegal dumping of deadly toxic waste by Pacific Gas & Electric Company that contaminated water and poisoned residents and resulted in one of the biggest class action lawsuits in American history against a multi-billion dollar corporation.
Good Night, and Good Luck (2005). Edward R. Murrow and CBS decide to take a stand against Senator Joe McCarthy’s tactics during the 1950s Red Scare.
In the Valley of Elah (2007). A career military officer tries to learn the truth of his son’s death after his return from a tour of duty in Iraq. Based on a true story.
The Insider (1999). Story of a research chemist who decides to blow the whistle on Big Tobacco and appears on “60 Minutes.”
Ghosts of Mississippi (1996). (PG-13). Based on the story of the Myrlie Evers (Whoopie Goldberg), widow of murdered civil rights leader Medger Evers and a district attorney struggle (Alec Baldwin) to finally bring the murderer to justice. Medgar Evers was murdered in 1963 in his own driveway.
Glory Road (2006). Inspired by a true story of Texas Western’s Coach Don Haskins (Josh Lucas), who led the first all-black starting lineup team to the 1966 NCAA national basketball championship title
Harlan County War (2000) (Made for TV/Showtime). A Kentucky woman (Holly Hunter) whose mineworker husband is nearly killed in a cave-in, and whose father is slowly dying of black lung disease, joins the picket lines for a long, violent strike. Based on true story of 1932 labor dispute in Harlan County, Kentucky.
The Tuskegee Airmen (1995) (TV): The true story of how a group of African American pilots overcame racist opposition to become one of the finest US fighter groups in World War II.
Miss Evers’ Boys (1997) (TV). The true story of the U.S. government's 1932 Tuskeegee Syphilis Experiments, in which a group of black test subjects were allowed to die, despite a cure having been developed.
Hoax (2006). Struggling author Clifford Irving sells his fabricated biography of Howard Hughes to a premiere publishing house in the early 1970s.
Hotel Rwanda (2004). Story of Paul Rusesabagina, the hotel manager who protected Tutsi refugees from the Hutu militia in Rwanda.
The Hurricane (1999). Based on the life of Rubin “Hurricane” Carter, a boxer wrongly imprisoned for murder by a racist jury and law officers, and the people who aided in his fight to prove his innocence.
Iron Jawed Angels (2004). (NR): Story of Alice Paul and the fight for women’s suffrage.
The Killing Fields (1984). Based on the experiences of New York Times reporter Sydney Schanberg and his photographer/assistant, Dith Pran, and the civil war in Cambodia in the 1970s.
Last King of Scotland (2007). Based on Ugandan dictator Idi Amin and his brutal regime during the 1970s, through the perspective of his personal physician.
Malcolm X (1992). Spike Lee’s story of the controversial and influential Black Nationalist leader.
Matthew Shepard Story (2002). (TV). Based on the story of gay college student Matthew Shepard who was murdered 10 years ago in Laramie, WY.
A Mighty Heart (2007). Based on Mariane Pearl's account of the murder of her husband, Wall Street Journal reporter Danny Pearl, in Iraq.
Mississippi Burning (1988). Based on the FBI investigation of the 1964 disappearance of civil rights workers in Mississippi.
Munich (2005). “During the 1972 Olympic Games in Munich, eleven Israeli athletes are taken hostage and murdered by a Palestinian terrorist group known as Black September. In retaliation, the Israeli government recruits a group of Mossad agents to track down and execute those responsible for the attack.”
Pocahontas (1995). Disney’s story of the Native American woman who colonists when they invaded 16th century Virginia.
Rabbit Proof Fence (2002). Based on the story of three Aboriginal girls who escape from the Moore River Native Settlement in Australia, after the country passed a the Aborigines Act, designed to control the lives of this indigenous race. The Australian government recently issued a formal apology to the Aboriginal people.
Rendition (2007). When an Egyptian terrorism suspect “disappears” on a flight from Africa to Washington D.C., his American wife and a CIA analyst struggle to secure his release from a secret detention facility somewhere outside the US. FYI: Suits have been filed against the U.S. government by victims of this practice.
Road to Guantanamo (2006). Based on the experiences of the Tipton Three, a trio of British Muslims who were held in Guantanamo Bay for two years until they were released without charge.
Rosewood (1997). “Story of a shameful event in American history, the race riot by whites against blacks in 1922 in the small Florida town of Rosewood, which left the town in smoking ruin while dozens of its residents were shot, burned to death or lynched” (Ebert, 1997, February 21, ¶ 7).
Saving Jessica Lynch (2003). (Made for TV). Based on the story of the Army rescue of Private Jessica Lynch in Iraq.
Shattered Glass (2003). Journalist Stephen Glass (The New Republic) was disgraced when it was revealed that he had fabricated over half of his articles.
Snow Falling on Cedars (1999). Fictionalized story of a journalist searching for the truth behind a local murder, and the consequences of racism and the aftermath of the Japanese internment in his community during WWII.
Veronica Guerin (2003). Based on the story of the Irish journalist who is assassinated by the drug dealers she wrote about in her new stories.

MORE!
All the President’s Men
All Quiet on the Western Front
Amadeus
Amistad
Band of Brothers
Braveheart
Bridge Over the River Kwai
Capote
Citizen Kane
Cold Mountain
Control Room
Erin Brockovich
Exodus
Ghandi
Gladiator
Gone with the Wind
Good Night and Good Luck
Grapes of Wrath
Inherit the Wind
JFK
Killing Fields, The
Letters from Iwo Jima
Lion in Winter
Mississippi Burning
Mrs. Miniver
Newsies
Norma Rae
Out of Africa
Reds
Salvador
Saving Private Ryan
Schindler’s List
Seabiscuit
Shattered Glass
Titanic
Triumph of the Will
Tru


See also these online lists of historical movies:
http://www.fordham.edu/halsall/mod/modsbookmovies.html
http://www.vernonjohns.org/snuffy1186/movies.html
http://longagocaptures.org/

Gatekeeping—An Eager Media Smarty

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Editor’s Note: April Larsen is a student in both beginning news writing and Media Smarts this (F08) semester. A former missionary in LA, she was interested during the recent election by the Proposition 8 struggle, and even more by the protests that followed the gay-marriage ban in California. She is also a media-smart fish whose observations about how the LA Times coverage of the post-election protests changed are worth reading. TP

Monday, November 10, 2008

Behold! The power of gatekeepers!

By April Larsen

Last Thursday, a couple hours after the rally started at the L.A. Mormon Temple, I found myself glued to the L.A. Times online article of the event.

I lived on the L.A. temple grounds for eight months, so I wanted to soak up the details of the breaking news. Over four or five hours I refreshed the article, observing its evolution. I was surprised by the way the changing content changed the general sway of the article, and I wondered what was contributing to the choices the writers were making in altering the content.

The first version of the article read:

Soon after the rally got under way at 2 p.m., men and woman hoisting signs shouted down about a half-dozen men in suits from the church, yelling "Shame on you!" and pointing at them. The men in suits and a groundskeeper stood looking at them impassively.

I liked this lead. I think the word “impassively” really hit the spot. Those who are frustrated with the church could resent the idea of temple patrons looking impassively, and members of the church, like me, could be amused by the lack of impact the protesters were having.

A couple hours after I read that lead and chuckled to myself, the writers of the Times article changed it. (At least the typo was removed.) It now reads:

Outside the Los Angeles temple Thursday, dozens of protestors screamed "Bigots" and "Shame on You" at half a dozen men in button-down shirts and ties who looked out at the demonstration from behind the temple's closed gates. The men did not respond.

Now all I hear is "Bigots looked out from behind closed gates." The extra framing really drew a more thorough profile.

There’s also the “no comment” or “did not repond” effect we talked about in class today. It's got to be the quickest way to make someone sound like a bozo. The line that was receptive to perception had become lop-sided.

They also framed the Church statement by what it doesn't say, by writing this:

Church officials made few public statements during the campaign. On Thursday, they issued a statement asking for "a spirit of mutual respect and civility.” "The Church acknowledges that such an emotionally charged issue concerning the most personal and cherished aspects of life -- family and marriage -- stirs fervent and deep feelings," church spokeswoman Kim Farah wrote in an e-mail. "No one on either side of the question should be vilified, harassed or subject to erroneous information." She did not elaborate.

Finally, they chose to add an outline of what takes place in a very pointed, (offensive and unreasonable) anti-LDS anti-prop 8 ad, and they featured the story of a former member-RM who is practicing gay now. They currently end the article with a quote from an active member from Corona (an hour southeast of L.A.! How's that for proximity?), which doesn't give much information or interest. It ends with his quote on persecution toward the Church being nothing new, but the way it's dumped at the end makes it sound like church members play the victim card.

They also added a tag to the bottom of the article, "Times staff writer Tami Abdollah contributed to this article." I wondered how much of the changes had to do with her. What did she contribute?

I find it interesting the way all of these more revealing tidbits that give the sense that the church is unreasonable were added to the article later. It might be too much involvement to add more about what other churches donated and how they were involved in the campaign, how the church was singled out, how other increased minority votes contributed a large amount... but they could have added more detail from a stronger, active, pro-LDS source—perhaps a reaction to the protests.

I actually emailed the writers, as a proactive journalism student, suggesting they balance the content. I got responses from the writer who was on location while she was at the protest. She said she had nothing to do with what was being published online other than calling in information. (Maybe I should say, "She did not explain the lack of LDS representation in the article..." bozo.) She also told me the Times does not preserve former versions of articles, which I found odd because they might need it in the case of proving accountability for something.

Anyway… gatekeeping! It’s interesting how much you can say from the heart without saying anything personal at all.

Thursday, November 6, 2008

More on Fox News

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The election’s over, and not that we need any further evidence of Fox bias, but....

From FAIR (Freedom & Acccuracy In Reporting)

Fox News Nailbiter!
Conservative channel pushed notion of a tightening election
11/6/08

One of the most glaring peculiarities about the Fox News Channel’s campaign coverage in the run-up to the November 4 election was the channel’s frequent insistence, in the waning days of the campaign, that the election was remarkably close, with Republican John McCain surging.

In reality, few polls suggested this was happening (see PollingReport.com; Pollster.com), but Fox chose to give a handful of outlying, unrepresentative surveys considerable attention. It was as if the channel were less interested in accurately reporting the state of the campaign than in presenting an alternate reality that would be pleasing to partisan viewers.

....more
Click here to see the rest of the story, including examples in the campaign’s final days.

Smarts—Movie Project Teams

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TEAM ROSTERS

TEAM REDD
Movie: “The Killing Fields” Presentation date: 12/4
Hertig, Edward
*Linder, Darin S.
Radle, Devan S.

TEAM Twizzle-Wizzle
Movie: “13 Days” Presentation date: 12/2
Adams, Rachel J.
Jeppson, Tamara
*Nance, Lorene W.
Rasmussen, Taylor J.

JAMES’S ANGELS
Movie: “Catch Me If You Can” Presentation date: 12/2
Bullock, Anna M.
Jones, Autumn D.
Nield, Jessica C.
*Rohwer, James K.
Smith, Mauri A.

ANFSCD
Movie: “Rescue Dawn” Presentation date: 11/20
Cambron, Kacee
Jones, Brittany A.
Olson, Tyler R.
*Schieving, Sarah E.

PPs
Movie: “Cinderella Man” Presentation date: 11/20
Ferry, Emily E.
Kushlan, Michael W
Osmun, Dallin J.
Scoggins, Courtney A.
*Sorensen, Taylor J.

TEAM MUCKRAKER
Movie: “Pearl Harbor” Presentation date: 12/4
Gregory, Rylee A.
Landeen, Spencer T.
Pack, Ryan S.
*Sharp, Holli L.

* = team captain

Smarts—Readings on Film & Society

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Readings: Film & Society

Your film project examines both how your selected movie frames your topic—with awareness of what is included and what is excluded—and how the film may try to “rewrite” history by comparing the cinema version with the historical record.

These readings address many of these and related issues.

Can a Film Change The World? Time

Can Movies Change Our Minds?

Debating Iwo Jima Time

Do Movies Shape Your Opinions? USA Today

In Election Movies, Playing by the Rule of Three National Public Radio

James Matt: ‘Sicko’ Illustrates Power of ‘Advomentaries’

An Oscar Crop with an Instinct for Change National Public Radio

Top Gun versus Sergeant Bilko? No contest, says the Pentagon
Scripts can often be the first casualty in Hollywood’s theatre of war

Wednesday, November 5, 2008

Interviewing Skills

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NOTE: This National Public Radio story (2006) focuses on journalistic interviewing skills, as taught by ESPN’s John Sawatsky. This is an instructive story (go to the website for audio links and examples), as Sawatsky assesses his NPR interviewer, David Folkenflik, as well as interviewing icons like Larry King and Mike Wallace.

John Sawatsky stands in front of question mark on office door If he were a comic-book villain, Sawatsky would be the Riddler; his office door illustrates his main professional focus.


All Things Considered, August 14, 2006 ·

The old saying goes, “There’s no such thing as a stupid question.” But in the opinion of at least one major television network, there is such a thing, and some of the least effective questions are coming from top broadcast journalists.

ESPN’s John Sawatsky is tearing down icons such as Larry King and Mike Wallace as he preaches his guiding principles about how to properly conduct an interview.

ESPN has become a multi-channel sports juggernaut, beaming games, talk shows and news programs into tens of millions of homes. Its nightly newscast, SportsCenter, features spectacular plays, slips and punchlines—but its interviews needed work, according to one executive.

“I felt that we were missing key questions,” says John Walsh, ESPN’s senior vice president and executive editor. “We weren’t getting key moments ... so I thought we needed help.”

Walsh read a journalism review article about a college professor’s technique on the art of the interview. Two years ago, that professor, John Sawatsky, joined ESPN full time.

Now, every single editorial employee at ESPN is expected to attend a three-day seminar, where they encounter a lanky, slightly awkward 58-year-old man with little flash. In his efforts to illustrate what he considers the “seven deadly sins of interviewing,” John Sawatsky methodically eviscerates the nation’s most prominent television journalists.

“I want to change the culture of the journalistic interview,” Sawatsky says. “We interview no better now than we did 30 years ago. In some ways, we interview worse.”

....more at NPR website....

How Did Folkenflik Do?

Sawatsky had this to say about David Folkenflik’s interviewing technique on the first day they sat down: “Your questions are good, on the micro-level. There doesn’t seem to be a huge strategy here, in terms of using questions to build off questions to get more, to get me to go further than my normal cautious self would normally go. That part isn’t there—but of course, we haven’t covered that yet in the workshop.” After their second interview (and after the seminar), Sawatsky has revised his opinion. Listen at the end to hear his assessment.

What Makes a Good Interview?

John Sawatsky says this CBC interview is one of the best he's ever encountered.

Veteran journalist Mike Wallace

Veteran journalist Mike Wallace dismisses Sawatsky's criticism. Getty Images

Sawatsky’s Targets Fire Back

Friday, October 31, 2008

Assessing Political Claims

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How Do We Know What to Believe in the Presidential Campaign?

Jessica, a Media Smarts student, writes:
“I received this forward from a friend not too long ago and it kind of freaks me out. Especially where it lists Obama’s tax policies. I normally wouldn’t pay too much attention to forwards, but this one sources its information. I am just curious as to what your take on this is? I could ask my parents, but I don’t necessarily want the conservative version of whether this is accurate. If you have time it would be great to hear your opinion. The election is so close and I just want to make sure I have all the information before I vote. Thanks!

Professor Pease replies:
Yikes, Jessica. This IS a bit frightening (of course, it is Halloween). I’m not well enough versed on all the comparative policies to give you a reality check on all this (except that I’m a little suspicious of any supposedly independent/neutral source that would have misspelled Barack Obama’s name....).

I do see a number of misrepresentations of both candidates’ positions, at least as I understand them. If this freaked you out, Jessica, that was clearly the intention of the sender. I Googled “Obama-McCain comparison” and found a number of sites, some helpful, some not so much. The problem is that you don’t know who has put this stuff together, and with what intention (sound like a media literacy issue?). Where did your comparison table come from, for example?

Take a look at this site, for instance, by a self-described “Southern ex-conservative” (?), who goes through your comparison table point by point. I don’t know whether to trust this site, either.

What I do know about Obama’s income tax proposal is that it would raise taxes on those in the highest income brackets—way past anywhere I’ll ever be, for example—and reduce taxes on lower- and middle-income people. He also would cut back on tax benefits to big companies (Exxon just reported record earnings for the most recent quarter—$11 billion-something—while everyone else is tanking...how does that work?).

One way to evaluate all the claims, so many of which are partisan in one direction or the other, is to look for sources that you find credible and see what they think. That’s one reason newspaper endorsements can be helpful (as per some of our previous discussions on SmartTalk). But you have to know the newspaper’s history in order to know whether you agree with its position. Here’s a story from the Chicago Tribune that provides an overview of recent newspaper endorsements (and if you click on the Editor&Publisher link (that's a newspaper trade mag), you get the full list of what newspaper has endorsed whom). And click on this site for a handy U.S. map of endorsements.

WAIT! Here's a pretty good one, from CNN I can't seem to find this kind of thing from the NYTimes, but this is what I’d want—comparisons not from some blogger or some partisan whacko (left or right), but assessments from a more credible, neutral source. Of course, some would say that CNN or the NYTimes is no more neutral or fair and balanced than Fox (although I believe they are).

And perhaps the most non-partisan, neutral source might be Factcheck.org from the Annenberg Public Policy Center at the University of Pennsylvania.

I’m afraid there's really no easy way to do this—it’s like studying for an exam. But I do think the comparison table you were sent is not as accurate or dependable as some of these other sources.

Thanks for asking, Jessica. It is a tricky thing to figure out. Did you see Obama’s 30-minute “informercial” the other night? Very impressive, both substantively and in the ways it framed him and the issues. Just like what we’re studying.....

Good luck to all of us in making sense of this.

TP

Wednesday, October 29, 2008

Campaign '08—Coverage Varies, Study Finds

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The Color of News:
How Different Media Have Covered the General Election

Wednesday, October 29 — Where one goes for news about the presidential campaign makes a real difference, according to a study of campaign coverage released today by the Pew Research Center’s Project for Excellence in Journalism.

The study offers hard evidence of an ideological divide between two of the three cable channels—MSNBC and Fox News—while CNN’s coverage resided somewhere in the middle. On MSNBC, the story was more favorable for Barack Obama, and unfavorable for John McCain than in the press overall. The Fox News Channel provided nearly mirror image of MSNBC’s coverage. CNN’s coverage, while more typical of the press generally, was also more negative than the press overall.

Traditional network news, in contrast, did not reflect any such ideological divisions. The nightly network newscasts tended to be more neutral, and less negative, than the press overall. On the morning network shows, Sarah Palin was a bigger story than she was in the media in general.

In print news, online stories tended to be driven by poll data. On newspaper front pages, which tended to be the morning-after stories, McCain was covered more harshly than in the overall media.

These are some of the findings of the new PEJ study, which examined 2,412 stories from 48 outlets during the time period from September 8 to October 16. The report is a companion to a study released October 22 about the tone of coverage overall. This new report breaks down the coverage of tone by specific media sectors—print, cable news, network television and online. The Project, which is part of the Pew Research Center in Washington D.C., is funded by the Pew Charitable Trusts.

Read the full report online.

Palin Mis-Mediated?

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Column by Wade Goodwyn

NPR Essay

The Presidential Election: The Refs Blew It
“If you watch Fox News talk-show host and commentator Bill O'Reilly (which I do every night), there is no question that Palin has been treated unfairly by the mainstream media. … But while partisans can dismiss the depiction of Palin as the product of liberal media bias, the abandonment of the Alaska governor by mainstream and credentialed conservative columnists and politicians cannot be explained away the same way.”

October 28, 2008 · Let’s start with a hypothetical. Suppose Arizona Sen. John McCain loses the election. Do you think Alaska Gov. Sarah Palin emerges from the campaign a net winner or a net loser in terms of her relative position inside the Republican Party and on the national political scene?

On the plus side you’d likely never heard of Sarah Palin and now you certainly have. In politics, that’s like going from last place to first, from cellar to the World Series. Palin is the Tampa Bay Rays of Republican politics. On the campaign trail, she proved enormously popular. She made the accusation “palling around with terrorists” a national catchphrase.

The downside, the damage to Palin’s reputation, becomes the long-term political question. Palin’s interview with CBS anchor Katie Couric and Tina Fey’s impersonations of Palin on Saturday Night Live cast the governor as out of her league. She attracted to her rallies the true believers of the GOP, and the combination of her fiery rhetoric and her audience’s intense dislike of the senator from Illinois created moments of political anger and passion. Barack Obama’s race suffused these moments with interpretive uncertainty. Was this acceptable conservative vs. liberal or unacceptable white vs. black? If both, then in what measure? Any reporters who believe they know the answer should be more wary of what they think they know.

If you watch Fox News talk-show host and commentator Bill O'Reilly (which I do every night), there is no question that Palin has been treated unfairly by the mainstream media. That point of view is passionately shared by the vast majority of conservative media and Republicans in general. In the long term, that will help Palin recover from her political wounds. But while partisans can dismiss the depiction of Palin as the product of liberal media bias, the abandonment of the Alaska governor by mainstream and credentialed conservative columnists and politicians cannot be explained away the same way. That is a comeback hurdle that will be harder for Palin to clear.

And what about the liberal media, anyway?

I spent my teenage years in Durham, N.C.; my father was a professor at Duke University. From the early ’70s on, we had season tickets to Cameron Indoor Stadium, and I became an avid Duke basketball fan. There is no fan in all of sports more familiar with the accusation “your team won because the referees were in the tank” than Duke basketball fans. And at no time were these allegations louder than while Duke was winning five Atlantic Coast Conference titles in a row. Duke won because it was “8 on 5” (five Duke players plus the three refs against the five opposing players). If you ask fans of other ACC teams, there is no question but that this is true.

Well, was it true? Bias is in the eye of the beholder. The charge should never be dismissed outright, nor should it be taken unreservedly to heart. There is always the possibility that Duke was better.

(Click here for URL link)

Tuesday, October 28, 2008

Smarts: Critical Analysis Essays

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Smarts students write at least two critical analysis/reaction papers each semester. These should be 3- to 6-pages in length, applying the course content (theories, lectures, readings, etc.) to a mass media issue, book, reading, film, etc., in the context of the course’s central theme about the mass media: How do we know what (we think) we know about the world?

Below are 1) general directions on the analysis papers; 2) evaluation criteria; and 3) examples of current student papers that earned A’s.

MediaSmarts • Critical Reaction/Analysis Papers

During the semester, you will write (at least) two critical analyses on topics that are part of the Media Smarts curriculum. These may include:

• Movie Night screenings
• Readings/essays
• Events
• Media coverage/analysis of events

A Media Smarts Analysis Essay is more than just your reaction (“This sucks!”), but—as outlined in the syllabus—should be your thoughtful, well-reasoned, critical examination of the media and society issues involved in the topic of your choice.

That’s correct—the topics are up to you (with instructor approval). The instructor will offer some options—films (e.g., Absence of Malice or The Front Page or Broadcast News or The Paper, etc.) that deal with the ethos and pressures and performance of journalists and how they see their role in society; or events that will occur during the semester (e.g., John Bul Dau/Lost Boys of Darfur, or Matt Wald and environmental journalism—and how the world media tell the story); or take an essay like Alana Taylor’s critique of journalism education as a starting point; or review a book on media and society that interests you (lists are available).

Your essays will address the content of your chosen subject film/essay/book in a detailed assessment of its strengths and weaknesses. Don’t just regurgitate it— explain its arguments and themes and relate them to what we’ve discussed about how mass communication and society interact. Most films, etc., have their own perspectives—what is your film trying to achieve? Are you being convinced? Why? What communication processes are in play, either in the content or in the author/director presentation? Discuss why and how, in your view, your film/whatever is or isn’t compelling/effective.

Incorporate references to readings in this class (including the key mass communication theories we’ve studied) or from other authoritative (not Wikipedia!) sources that support your arguments. That is, your paper should include your critical reactions and arguments based on additional authoritative research (articles, scholarly papers, books, news media, etc.) that you cite (include full citations at the end).

Be sure to include specific examples to illustrate and support your points, and typing them to the central theories and, ultimately, to the course’s central question. I want to see that you have engaged in your topic, evaluated it critically and in detail, and have engaged your brain to synthesize other material relevant to the study of mass communication and society in the context of your subject.

Mechanics:
Critical essays are 3- to 6 pp. (~1000-2500 words, not counting references), typed and doubled-spaced in a 12-point font. They will be evaluated on the basis of a) content, b) synthesis, c) argument, and d) mechanics (see evaluation criteria below).

Essays are due within a week of an event (Movie Nights, speeches, etc.), or may be scheduled with the instructor. One essay is due before midterm (Oct. 11) and the second before the final class meeting (Dec. 4). Additional essays are possible with the instructor’s permission.

MediaSmarts • Critical Analysis Papers Evaluation Criteria

Critical Analysis essays are evaluated on the basis of the following:
1. Content: Substantive review of the book/movie/event/subject being analyzed; use of substantive other sources in discussing the subject and constructing the critical argument.
2. Synthesis: Discussion/evaluation of subject in the context of relevant mass communication theories, external sources, in relation to the course's core theme: How do we know what we think we know about the world?
3. Strength of argument: persuasiveness of critical argument/assessment, supported by other sources; depth and insight beyond the obvious and beyond personal opinion;
4. Mechanics: Writing, grammar, spelling, etc.

Examples of “A” Essays

Reality
By Tamara Jeppson
The film “God Grew Tired of Us,” along with speeches by John Bul Dau (one of the lost boys of Sudan), raises questions about what we know or think we know and how we came to gain that knowledge. The majority of Americans will never go to Africa and out of the small number of people who make it there, an even smaller number will reach Sudan. While it is the minority that will every set foot on the continent of Africa, let alone the country of Sudan, we all seem to think that we know what it is like there. We base our knowledge on what we see on television, read on in the newspaper, or hear on the radio but sometimes the people, places, and events of the world are incorrectly portrayed in mass media or they are not shown at all.

Media representations can lead to the development of prejudices based on race, gender, size, and other physical characteristics. Television and movies often portray African American males as aggressive, menacing, or unruly (Coltrane and Messineo, 2000). While mass media cannot tell us what to think a steady diet of media messages, that are similarly framed, can influence how we perceive the world around us and promote opinions about the people and places we do not normally come into contact with (Pease, 2008). The lost boy’s neighbors in America initially feared the boys because their opinion of young black men was based on negative media messages. As result the police asked the boys not to gather in large groups because it frightened people. However, the people who got to know the lost boys realized that the media stereotypes were incorrect and the lost boys were not mean or aggressive.

On the other hand, the lost boys were told that America was violent place. They were told that American girls where crazy people who would shoot the boys if they were rude. In the movie, Dau mentions that he was told that walking the streets of New York would get him killed. However, once the boys had gotten to know American girls and walked the streets they realized it was not as dangerous as they had first been told.

In America, Africa is usually portrayed as an undeveloped, often savage country. The people who live there are shown as aboriginal. We tend to think of them as poverty stricken, lacking homes, and living in the wilderness. In “God Grew Tired of Us” a lost boy is shown talking to a group of young children at a swimming pool in America. One of the children asks the lost boy if he lived in the forest in Africa. To the lost boy this is an odd question. People cannot live in the forest; they live in homes. A home in Africa may be very different than a home in America but to the lost boys it was still a home. The home may be a mud hut and it may lack the technology the American people are use to but it does not mean that the lost boys were not happy there. Dau mentioned in both movie and speeches that he loved his home in Sudan and he was happy there; to him it did not matter that his Sudanese home lacked the technology that his American apartment contained.

I think that the purpose of the film “God Grew Tired of Us” was to educate people about the problems in Sudan but also to show how little the people of Africa and America know about each other. The mass media do not have the time or space to tell every aspect of a story; the stories are framed to emphasis certain aspects, minimize others, and leave some parts out all together. Framing can lead to a distorted view of the world, if the story’s audience blindly accepts what they are told. To gain a more accurate view of the world, consumers of media messages must think about the framing – what is the purpose of the message and what is being left out? The ideas that the lost boys of Sudan and the people of America had about each other before they met and how those ideas changed after they got to know each other helps to show how different the media’s reality can be from the actual reality.
Tamara Jeppson
Honors 1340
Oct. 2, 2008
References (APA)

Coltrane, S. & M. Messineo. (2000). The perpetuation of subtle prejudice: race and
gender imagery in 1990s television advertising. Sex Roles, 42. Retrieved Oct. 2, 2008, from http://www.springerlink.com/content/h178421623515025/

Pease, T. (2008, Aug. 21). Media smarts – theories. Message posted to
http://askdrted.blogspot.com/2008/08/media-smartstheories.html


Matt Wald—So what?
by Lorene Nance

My response to Matt Wald’s presentation earlier this week was, “So what?” I had a hard time really pulling any useful information from his presentation because, at the end, I couldn't look back and really see any call for action, or even any particular attention drawn to one alternative source of energy or anything. Altogether, Mr. Wald was strikingly knowledgeable and—this is the key—objective. This was a surprise to me because I expected to hear him set more of an agenda and frame the issue differently (or at all, really) in his presentation.

Mr. Wald’s method of presentation showed the effects of our media environment. We have talked about the media’s inability to tell us exactly what to think regarding issues and their knack for telling us what issues to think about, but on the issue of global warming, this theory seems to be questionable. Based on Mr. Wald's remarks, global warming is an issue that, contrary to that theory of agenda-setting, the media has told us more exactly what we are to think regarding the issue. They have told us that global warming is reality, not myth; that global warming is caused by human activity, not just the natural cycle of the Earth; that lowering carbon emissions is the best/only way to combat global warming; and on and on and on.

This was apparent to me in the fact that Mr. Wald didn't even acknowledge any opposition to global warming: all “mainstream” media sources report global warming as an absolute fact, so we as members of the general public are expected to accept it as fact or be ridiculed as some ignorant radical (even though the combination of the two seems contradictory). The fact that he didn’t intentionally address this—his only mention of the “fact” that “most scientists agree that global warming is caused in large part by human activity” came only as in answer to a question after his prepared remarks—automatically makes me wonder about semi-recent changes in our global media climate. Within the last five to ten years (so, a large part of my rememberable life), global warming has come from being a fringe issue contained to the scientific and earth-loving society to a central focus of many people today that motivates daily decisions. Or at least so it seems...

As I was researching this issue, I found a wealth of information that was actually quite overwhelming, making it difficult to determine the quality of any one source. Any position I could think of regarding global warming, I found. But, for the most part, each article that I found on the subject was very authoritative, leaving no ifs, ands, or buts about the author's view on global warming. As I sifted through, I found some very interesting viewpoints and information that leads me to suggest that the American public, in general, feels much like I did during my research: overwhelmed.

As Warren Anderson observes, “As the noise from [the issue] has increased, it has drowned out any debate.” He also discusses mass media's tendency to “hype” climate change, reporting that the New York Times, among others, has anxiously warned of four different climate changes, both warming and cooling, in the past two centuries.

So it’s no wonder that Americans are overwhelmed by the sheer volume of information. Add to the sheer volume the number of different arguments for and against global warming that have floated around for the last ten years, and you end up with a generally confused people who are forming opinions—but aren't overly confident in the information that they have been given and the “facts” upon which they are basing their opinions. In short, average Americans, at least on the issue of global warming, are becoming media skeptics, and asking how it is they know what they (think they) know about the global warming. Several different studies and polls have shown this:

• A strong majority of Americans believe that global warming is “a real and serious problem” requiring action, but only a very slight majority believes that the scientific community is in consensus on the issue. Those who advocate action are divided on the time frame in which action is required and the cost: immediate steps with higher cost versus gradual, low-cost steps. But, when respondents were asked to presume that the scientific community is in consensus on global warming as reality, “support for taking high cost steps increases to a majority.” (Global)

• 80% of respondents in a 2006 poll believed that global warming is “probably occurring,” but over 60% were not “very sure” of it, linking their uncertainty to their belief that the scientists were in disagreement about the issue. (Langer)

The fact that I am not the only world citizen who is unsure what exactly to think regarding global warming is somewhat of a relief, both for my own uncertainty and for the knowledge that not everyone is as advocate-ready as the media personalities. However, my belief in the American public was diffused as I read a February 2008 study that contained this factoid:

“More informed respondents both feel less personally responsible for global warming, and also show less concern for global warming. We also find that confidence in scientists has unexpected effects: respondents with high confidence in scientists feel less responsible for global warming, and also show less concern for global warming.” (Kellstedt)

Since respondents rated their own level of informedness, it's safe to presume, as did blogger John Sides, commenting on the study, that it is this sense of perceived informedness that puts the respondents more at ease with their own level of responsibility and their concern about the climate.

This presents a conundrum of American informedness and action: those who readily admit that they are unsure don't want to advocate major changes based on the small amount of information that they are sure about, and those who feel that they are informed don't really care about or feel responsible for whatever global warming might bring. Wow. Presuming that those feelings can be extrapolated to other issues, I feel very confident in the results of the upcoming election. NOT.

I think this does speak multitudes about our current global media climate. We, as media consumers, have so many issues, big and small, facing us at every avenue—global warming, the economic downturn, the war in Iraq, to name a few—that we suffer from information paralysis, unable to act due to the large amount of information and the number of issues we have right at our fingertips every moment of every day. Because of the global village that mass communication modes have created, we as individuals must include many other things in our decisions. The more we know, and are expected to know, and are told to know (or at least think about) by the mass media's agenda-setting, the less confident we feel with making decisions.

With global warming, this means that we may not strongly believe any one particular way, but we will generally agree with what the mainstream, dominant media is pushing at the time: global warming is happening now and requires drastic action. When it comes to actually taking action about global warming, however, we don't know what action we want. In a January 2007 poll, response was as follows when asked “From what you know about global climate change or global warming, which one of the following statements comes closest to your opinion?”:

• 34% - “Global climate change has been established as a serious problem, and immediate action is necessary.”
• 30% - “There is enough evidence that climate change is taking place and some action should be taken.”
• 25% - “We don't know enough about global climate change, and more research is necessary before we take any actions.” (Environment, NBC News/Wall Street Journal Poll , Jan 17-20 2007)

The response is so divided that no one action has a majority vote. Yet in a separate poll taken that same week, 70% of respondents said that “global warming is having a serious impact now.” (Environment, CBS News Poll, Jan 18-21 2007)

The influx of information available through the mass media on every topic imaginable may or may not have created a more informed citizenry, but, according to these polls, voter turnout, and general community activity, it has not served to make us a more engaged or active citizenry.

WORKS CITED
Anderson, R. Warren. “Fire and Ice.” Business and Media Institute. (17 May 2006 ) Oct 15 2006.

Boykoff, Jules and Matt Boykoff. “Journalistic Balance as Global Warming Bias: Creating Controversy Where Science Finds Consensus.” Extra!. (November/December 2004) Oct 15 2008.

“Environment.” Oct 15 2008.

“Global Warming: The Reality and Urgency of Global Warming.” Oct 15 2008.

Kellstedt, Paul M., Sammy Zahran, and Arnold Vedlitz. “Personal Efficacy, the Information Environment, and Attitudes Towards Global Warming and Climate Change in the United States.” Risk Analysis. No. 28.(Feb 25 2008) Oct 15 2008.

Langer, Gary. “Poll: Public Concern on Warming Gains Intensity.” (May 26 2006)

Sides, John. “The Paradoxes of Public Opinion.” The Monkey Cage. (Mar 1 2008) Oct 15 2008.

Thompson, A.C. “Timeline: The Science and Politics of Global Warming.” (Apr 24 2007) Oct 15 2008

"The end of cartooning as we know it"

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That’s Pulitzer Prize-winning editorial cartoonist Mike Peters’s fear. Barack Obama is a lot harder for satirists like Peters and other editorial cartoonists to lampoon than John McCain. For Peters and his fellow cartoonists, Campaign 2008 has been a gift. See the story on National Public Radio (Click here for full story link.).
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Editorial Cartoonists Review Election '08

Morning Edition, October 28, 2008 · One thing Barack Obama and John McCain have not had to worry about during the long presidential campaign is making caricatures of themselves.

Luckily for them, that’s someone else’s job: editorial cartoonists.

Mike Luckovich of The Atlanta Journal-Constitution and Mike Peters of The Dayton Daily News recently joined Renee Montagne to look back at some of the memorable moments of the race between Obama and McCain.

The satirists’ themes are like a history of the campaign: the candidates' early struggles to define themselves; the emergence of Sarah Palin; and America's increasingly gloomy economy.

And both are worried that a victory for Obama could mean hard times for cartoonists.

“He’s just going to be very difficult to mock,” Luckovich said.

“It’s going to be the end of cartooning as we know it,” Peters said.

<more at website>

Friday, October 24, 2008

Book Review: Journalism Ethics Goes to the Movies

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The text for Honors Media Smarts (F08). Here’s a review from Journalism & Mass Communication Quarterly, 85/2 (Summer 2008), pp. 454-456.

Journalism Ethics Goes to the Movies
Howard Good, ed. Lanham, MD: Rowan & Littlefield, 2008. 192 pp. $75 hbk. $24.95 pbk

Journalists make great protagonists, and that’s why novelists and filmmakers love them. Accountants and mechanics rarely find themselves in the sorts of professional pickles that journalists do. And the very nature of journalism gives its practitioners complex lives in the path of action. What more could a storyteller want?

Beyond mere structural convenience, however, there’s something about the fundamental nature of the business that has attracted generations of writers and directors. It’s the ethical quandaries that journalists face. Reporters are rarely portrayed as simple heroes, and they are almost always portrayed as deeply flawed people, unhappy in love and usually with one or more substances regularly abused.

The focus in Howard Good’s Journalism Ethics Goes to the Movies, which collects essays by Good and 11 other scholars, is on the complex relationship between journalists and truth. More than the rah-rah dig-us hero worship of All the President’s Men, the films dissected in this book of essays pose complex problems, perfectly suitable for discussion in journalism ethics classes.

Reaching back to pre-Second World War America, the writers mull the conniving reporter of Frank Capra’s Mr. Deeds Goes to Town and the hero-worshiping/truth-denying sports scribe in Pride of the Yankees. These sorts of movies have been around since Hollywood’s Golden Age. And Citizen Kane, of course, perhaps the greatest of all American films, serves up a couple of ethical whoppers that would be at home in any class discussion.

Beyond the devastatingly negative portrayal of journalists’ personal habits, films often focus on reporters skirting the truth for some other end than the public’s right to know. In Under Fire, a photojournalist fakes a picture. In His Girl Friday, a convicted felon is hidden by a reporter in need of a scoop. In Ace in the Hole, a down-on-his-luck reporter tries to resuscitate his career by hindering the rescue of a trapped cave explorer—at least until his story plays out.

Most of the essayists in Good’s volume look at fairly recent films, always with an eye not only toward the ethical issue presented onscreen, but how these films can be used to help student journalists develop richer morals and values.

Shattered Glass, from 2003, focuses on one of the most pernicious problems in the profession today—the fabricating journalist. Based on the story of New Republic reporter Stephen Glass, the film shows his utter disconnect from the world of the journalists around him. Yet most of the magazine staff seems charmed by the self-deprecating Glass. It’s only when the unpopular young editor of the magazine, Chuck Lane, is approached by an online journalist that he begins asking questions about Glass and the sources for his stories. Glass has gone to great lengths in his subterfuge, creating Web sites for the bogus companies he mentions in his stories, and setting up phone lines with answering machines to throw fact-checkers off track. He has the rest of the staff on his side, charming and flattering them, and so the editor emerges virtually as the lone hero trying to publicly do the filthiest of media laundry. Eventually, his diligence forces the other staff members to see beyond the smiling, well-groomed charmboy to the dark heart of a serial liar, whose fabrications cut to the very heart of the New Republic’s—and journalism’s—core commodity: credibility.

At the opposite end of the ethical spectrum is 2005’s Good Night, and Good Luck (does that comma bother anyone else?), the rare film that shows a journalist modeling traditional heroic attributes. Like Shattered Glass, it comes from a true story—in this case, the oft-told tale of CBS broadcasting icon Edward R. Murrow’s lonely battle against the dangerous demagoguery of Sen. Joseph McCarthy in the red-scare 1950s. The movie, much like reality, probably doesn’t tip its hat enough to other journalists who began attacking McCarthy and his –ism earlier, suggests writer Michael Dillon, but the point is that when Murrow pulled the rug out from under the meglomaniacal McCarthy, it was on television, in front of a huge audience. Murrow is played spot-on by actor David Straithairn, and a bespectacled George Clooney tackles the supporting role of producer Fred Friendly.

Both of these films pose ethical questions that go to the heart of journalism, and Good’s contributors do a nice job of discussing this core issue. One portrays a villain, the other a hero. Films are generally limited to two hours by virtue of sitting-tolerance, and so naturally some messy accuracies and historical events are telescoped. In his essay on Shattered Glass, Matthew C. Ehrlich of the University of Illinois notes that we never get an indication of Glass’s motive: why did he deceive? The inside-the-office detective story provides the substance of the film. Yet that lapse in storytelling becomes a wonderful teachable moment. The motive is the part of the picture left blank, with room for the viewer to put in the coloring. Well, class … why did he do it?
And that’s true of most of the films covered in the book: The Paper, Wag the Dog, Absence of Malice, Die Hard, Die Hard 2, Broadcast News, Veronica Guerin, The Year of Living Dangerously and Welcome to Sarajevo. None of these films, successful and complete as works of cinematic art, wraps their ethical issues up in a simple happy ending. If there is one consistent message, it is that nothing is simple and rarely are endings truly happy.

Journalism Ethics Goes to the Movies examines mostly recent films about reporters at a crossroads. But beyond the mere declamation of what the films show, Good’s book has imminent practical value, filled as it is with questions for further discussion and other teaching suggestions.

WILLIAM MCKEEN University of Florida