An introduction to all aspects of newspaper journalism and the journalist's world. The book examines in detail not only day-to-day practice but also the role of the editor and the reading public, and the running and printing of newspapers. Close attention in this new edition is paid to the effect of technological advance on news gathering, news and feature writing, page planning and design and the production, advertising and commercial side of newspapers. This book is widely used on journalism and media-related courses, including degrees and those run by newspaper companies and the NCTJ, and the many training schemes abroad that look at British practice.

Entrepreneurial Journalism explains how, in the age of online journalism, digital-savvy media practitioners are building their careers by using low-cost digital technologies to create unique news platforms and cultivate diverse readerships. The book also offers a range of techniques and tips that will help readers achieve the same. Its opening chapters introduce a conceptual understanding of the business behind entrepreneurial journalism. The second half of the book then presents practical guidance on how to work successfully online. Topics include: * advice on launching digital start-ups; * how to use key analytics to track and focus readership; * engaging with mobile journalism by utilising smartphone and app technology; * developing revenue streams that can make digital journalism sustainable; * legal and ethical dilemmas faced in a modern newsroom; * the challenges of producing news for mobile readers. The book features leading figures from the BBC, Google and the Guardian, as well as some of Britain's best entrepreneurial reporters, who offer advice on thriving in this developing media landscape. Additional support comes from an online resource bank, suggesting a variety of free tools to create online news content. Entrepreneurial Journalism is an invaluable resource for both practising journalists and students of journalism.

Developing News sets out to describe how development is articulated in the news and used by newspeople as an analytical category to explain the world. It is about examining development as a discourse that is based on the harmful contrast between the developed and the developing (or the underdeveloped) and that sets the boundaries for what is permissible to say. Jairo Lugo-Ocando and An Nguyen begin by discussing the news coverage of development that emerged as a news category for newspapers and broadcasters after World War II. They move on to examine the way development has been reported by the mainstream media, exploring the rationales and ideologies that determined and continue to define the way the media think about and represent development in the news. In doing so, the authors contribute to a better understanding of the relationship between the news agenda, news sources and the development policies that are set in the centres of power. This book is ideal for those studying and researching and studying issues to do with journalism and the "Third World". It may also be relevant for those students taking courses in global or international journalism, media and democracy, development studies or international politics. Above all, it is an invitation for journalists to rethink their own practice in representing international development and its component.

The role of the news media in defining the important issues of the day, also known as the agenda-setting influence of mass communication, has received widespread attention over the past 20 years. Since the publication of McCombs and Shaw's seminal empirical study, more than one hundred journal articles and monographs have appeared. This collection exemplifies the major phases of research on agenda-setting: tests of the basic hypothesis, contingent conditions affecting the strength of this influence, the natural history of public issues, mass media influence on public policy, and the role of external sources from the president to public relations staffs on the news agenda.

This excellent book covers editing in the digital age, demonstrating the tools needed for effective text editing. Learn how to write powerful headlines and captions, and how to edit body text quickly and cleanly. It also concentrates on design in the digital environment, introducing typography and the related issues of readability and legibility. The skills of picture editing are explored, including image selection, cropping, manipulation and the ethics involved. These core skills and methods are then applied to the World Wide Web. Recent research into how people navigate Web pages is considered, and recommends ways to write more effectively for the online medium. The first section concentrates on editing in the digital age, demonstrating the tools needed for effective text editing. Dr Quinn shows how to write powerful headlines and captions, and how to edit body text quickly and cleanly. The middle section concentrates on design in the digital environment. Chapter five introduces typography and the related issues of readability and legibility. Chapter six covers the principles of design and how they can be applied to print and electronic publications. Chapter seven looks at the skills of picture editing, including image selection, cropping, manipulation and the ethics involved. Chapter eight investigates other forms of visual presentation such as diagrams, logos, maps and cartoons. In the final section, these core skills and methods are applied to the World Wide Web. Chapter nine considers recent research into how people navigate Web pages, and recommends ways to write more effectively for the online medium. Chapter ten examines how the principles of print design can (and cannot) be applied to Web pages.

Bringing together Canadian, American, and British scholars, this volume explores the relationship between modernism and modern celebrity culture. In support of the collection's overriding thesis that modern celebrity and modernism are mutually determining phenomena, the contributors take on a range of transatlantic canonical and noncanonical figures, from the expected (Virginia Woolf and F. Scott Fitzgerald) to the surprising (Elvis and Hitler). Illuminating case studies are balanced by the volume's attentiveness to broader issues related to modernist aesthetics, as the contributors consider celebrity in relationship to identity, commodification, print culture, personality, visual cultures, and theatricality. As the first book to read modernism and celebrity in the context of the crises of individual agency occasioned by the emergence of mass-mediated culture, Modernist Star Maps argues that the relationship between modernism and the popular is unthinkable without celebrity. Moreover, celebrity's strange evolution during the twentieth century is unimaginable without the intercession of modernism's system of cultural value. This innovative collection opens new avenues for understanding celebrity not only for modernist scholars but for critical theorists and cultural studies scholars.

In her immensely readable and richly documented book, Christine Bayles Kortsch asks us to shift our understanding of late Victorian literary culture by examining its inextricable relationship with the material culture of dress and sewing. Even as the Education Acts of 1870, 1880, and 1891 extended the privilege of print literacy to greater numbers of the populace, stitching samplers continued to be a way of acculturating girls in both print literacy and what Kortsch terms "dress culture." Kortsch explores nineteenth-century women's education, sewing and needlework, mainstream fashion, alternative dress movements, working-class labor in the textile industry, and forms of social activism, showing how dual literacy in dress and print cultures linked women writers with their readers. Focusing on Victorian novels written between 1870 and 1900, Kortsch examines fiction by writers such as Olive Schreiner, Ella Hepworth Dixon, Margaret Oliphant, Sarah Grand, and Gertrude Dix, with attention to influential predecessors like Elizabeth Gaskell, Charlotte Bronte, and George Eliot. Periodicals, with their juxtaposition of journalism, fiction, and articles on dress and sewing are particularly fertile sites for exploring the close linkages between print and dress cultures. Informed by her examinations of costume collections in British and American museums, Kortsch's book broadens our view of New Woman fiction and its relationship both to dress culture and to contemporary women's fiction.

Examining how the rise of book illustration affected the historic hegemony of the word, Keri Yousif explores the complex literary and artistic relationship between the novelist Honore de Balzac and the illustrator J. J. Grandville during the French July Monarchy (1830-1848). Both collaborators and rivals, these towering figures struggled for dominance in the Parisian book trade at the height of the Romantic revolution and its immediate aftermath. Both men were social portraitists who collaborated on the influential encyclopedic portrayal of nineteenth-century society, Les FranAais peints par eux-mAmes. However, their collaboration soon turned competitive with Grandville's publication of Scenes de la vie privee et publique des animaux, a visual parody of Balzac's Scenes de la vie privee. Yousif investigates Balzac's and Grandville's individual and joint artistic productions in terms of the larger economic and aesthetic struggles within the nineteenth-century arena of cultural production, showing how writers were forced to position themselves both in terms of the established literary hierarchy and in relation to the rapidly advancing image. As Yousif shows, the industrialization of the illustrated book spawned a triadic relationship between publisher, writer, and illustrator that transformed the book from a product of individual genius to a cooperative and commercial affair. Her study represents a significant contribution to our understanding of literature, art, and their interactions in a new marketplace for publication during the fraught transition from Romanticism to Realism.

'Ouida,' the pseudonym of Louise Rame (1839-1908), was one of the most productive, widely-circulated and adapted of Victorian popular novelists, with a readership that ranged from Vernon Lee, Oscar Wilde and Ruskin to the nameless newspaper readers and subscribers to lending libraries. Examining the range and variety of Ouida's literary output, which includes journalism as well as fiction, reveals her to be both a literary seismometer, sensitive to the enormous shifts in taste and publication practices of the second half of the nineteenth century, and a fierce protector of her independent vision. This collection offers a radically new view of Ouida, helping us thereby to rethink our perceptions of popular women writers in general, theatrical adaptation of their fiction, and their engagements with imperialism, nationalism and cosmopolitanism. The volume's usefulness to scholars is enhanced by new bibliographies of Ouida's fiction and journalism as well as of British stage adaptations of her work.

Romantic writers such as Robert Southey and Samuel Taylor Coleridge aspired to rise above the so-called 'age of personality,' a new culture of politicized print gossip and personal attacks. Nevertheless, Southey, Coleridge, and other Romantic-era figures such as Leigh Hunt, William Hazlitt, Sydney Owenson, and the explorer John Ross became enmeshed in lively feuds with the major periodicals of the day, the Edinburgh Review and the Quarterly Review. Kim Wheatley focuses on feuds from the second and third decades of the nineteenth century, suggesting that by this time the vituperative rhetoric of the Edinburgh and the Quarterly had developed into what Coleridge called 'a habit of malignity.' Attending to the formal strategies of the reviewers' surprisingly creative prose, she traces how her chosen feuds take on lives of their own, branching off into other print media, including the weekly press and monthly magazines. Ultimately, Wheatley shows, these hostile exchanges incorporated literary genres and Romantic themes such as the idealized poetic self, the power of the supernatural, and the quest for the sublime. By turning episodes of print warfare into stories of transfiguration, the feuds thus unexpectedly contributed to the emergence of Romanticism.

Intellectual Politics and Cultural Conflict in the Romantic Period maps the intellectual formation of English plebeian radicalism and Scottish philosophic Whiggism over the long eighteenth century and examines their associated strategies of critical engagement with the cultural, social and political crises of the early nineteenth century. It is a story of the making of a wider British public sphere out of the agendas and discourses of the radical and liberal publics that both shaped and responded to them. When juxtaposed, these competing intellectual formations illustrate two important expressions of cultural politics in the Romantic period, as well as the peculiar overlapping of national cultural histories that contributed to the ideological conflict over the public meaning of Britain's industrial modernity. Alex Benchimol's study provides an original contribution to recent scholarship in Romantic period studies centred around the public sphere, recovering the contemporary debates and national cultural histories that together made up a significant part of the ideological landscape of the British public sphere in the early nineteenth century.

This book explores the impact of new forms of online reporting on the BBC's coverage of war and terrorism. Informed by the views of over 100 BBC staff at all levels of the corporation, Bennett captures journalists' shifting attitudes towards blogs and internet sources used to cover wars and other conflicts. He argues that the BBC's practices and values are fundamentally evolving in response to the challenges of immediate digital publication. Ongoing challenges for journalism in the online media environment are identified: maintaining impartiality in the face of calls for more open personal journalism; ensuring accuracy when the power of the "former audience" allows news to break at speed; and overcoming the limits of the scale of the BBC's news operation in order to meet the demands to present news as conversation. While the focus of the book is on the BBC's coverage of war and terrorism, the conclusions are more widely relevant to the evolving practice of journalism at traditional media organizations as they grapple with a revolution in publication.

Focusing on the last will and testament as a legal, literary, and cultural document, Cathrine O. Frank examines fiction of the Victorian and Edwardian eras alongside actual wills, legal manuals relating to their creation, case law regarding their administration, and contemporary accounts of curious wills in periodicals. Her study begins with the Wills Act of 1837 and poses two basic questions: What picture of Victorian culture and personal subjectivity emerges from competing legal and literary narratives about the will, and how does the shift from realist to modernist representations of the will accentuate a growing divergence between law and literature? Frank's examination of works by Emily BrontA", George Eliot, Charles Dickens, Wilkie Collins, Anthony Trollope, Samuel Butler, Arnold Bennett, John Galsworthy, and E.M. Forster reveals the shared rhetorical and cultural significance of the will in law and literature while also highlighting the competition between these discourses to structure a social order that emphasized self-determinism yet viewed individuals in relationship to the broader community. Her study contributes to our knowledge of the cultural significance of Victorian wills and creates intellectual bridges between the Victorian and Edwardian periods that will interest scholars from a variety of disciplines who are concerned with the laws, literature, and history of the nineteenth and early twentieth centuries.

In Britain, the period that stretches from the middle of the eighteenth century to the mid-nineteenth century marks the emergence of the working classes, alongside and in response to the development of the middle-class public sphere. This collection contributes to that scholarship by exploring the figure of the "working-class intellectual," who both assimilates the anti-authoritarian lexicon of the middle classes to create a new political and cultural identity, and revolutionizes it with the subversive energy of class hostility. Through considering a broad range of writings across key moments of working-class self-expression, the essays reevaluate a host of familiar writers such as Robert Burns, John Thelwall, Charles Dickens, Charles Kingsley, Ann Yearsley, and even Shakespeare, in terms of their role within a working-class constituency. The collection also breaks fresh ground in eighteenth- and nineteenth-century scholarship by shedding light on a number of unfamiliar and underrepresented figures, such as Alexander Somerville, Michael Faraday, and the singer Ned Corvan.

Shedding light on an important and neglected topic in childhood studies, Anja MA1/4ller interrogates how different concepts of childhood proliferated and were construed in several important eighteenth-century periodicals and satirical prints. MA1/4ller focuses on The Tatler, The Spectator, The Guardian, The Female Tatler, and The Female Spectator, arguing that these periodicals contributed significantly to the construction, development, and popularization of childhood concepts that provided the basis for later ideas such as the 'Romantic child'. Informed by the theoretical concept of 'framing', by which certain concepts of childhood are accepted as legitimate while others are excluded, Framing Childhood analyses the textual and graphic constructions of the child's body, educational debates, how the shift from genealogical to affective bonding affected conceptions of parent-child relations, and how prints employed child figures as focalizers in their representations of public scenes. In examining links between text and image, MA1/4ller uncovers the role these media played in the genealogy of childhood before the 1790s, offering a re-visioning of the myth that situates the origin of childhood in late eighteenth-century England.

At the turn of the nineteenth century, writers arguing for the abolition of the slave trade and the emancipation of those in bondage used the language of sentiment and the political ideals of the Enlightenment to make their case. This collection investigates the rhetorical features and political complexities of the culture of sentimentality as it grappled with the material realities of transatlantic slavery. Are the politics of sentimental representation progressive or conservative? What dynamics are in play at the site of suffering? What is the relationship of the spectator to the spectacle of the body in pain? The contributors take up these and related questions in essays that examine poetry, plays, petitions, treatises and life-writing that engaged with contemporary debates about abolition.

In her study of anonymous infanticide news stories that appeared from 1822 to 1922 in the heart of the British Empire, in regional Leicester, and in the penal colony of Australia, Nicola Goc uses Critical Discourse Analysis to reveal both the broader patterns and the particular rhetorical strategies journalists used to report on young women who killed their babies. Her study takes Foucault's perspective that the production of knowledge, of 'facts' and truth claims, and the exercise of power, are inextricably connected to discourse. Newspaper discourses provide a way to investigate the discursive practices that brought the nineteenth-century infanticidal woman - known as 'the Infanticide' - into being. The actions of the infanticidal mother were understood as a fundamental threat to society, not only because they subverted the ideal of Victorian womanhood but also because a woman's actions destroyed a man's lineage. For these reasons, Goc demonstrates, infanticide narratives were politicised in the press and woven into interconnected narratives about the regulation of women, women's rights, the family, the law, welfare, and medicine that dominated nineteenth-century discourse. For example, the Times used individual stories of infanticide to argue against the Bastardy Clause in the Poor Law that denied unmarried women and their children relief. Infanticide narratives often adopted the conventions of the courtroom drama, with the young transgressive female positioned against a body of male authoritarian figures, a juxtaposition that reinforced male authority over women. Alive to the marked differences between various types of newspapers, Goc's study offers a rich and nuanced discussion of the Victorian press's fascination with infanticide. At the same time, infanticide news stories shaped how women who killed their babies were known and understood in ways that pathologised their actions. This, in turn, influenced medical, judicial, and welfare policies regar

During the nineteenth and early twentieth centuries, British society gradually began to see 'adolescence' as a distinct social entity worthy of concentrated study and debate. Jenny Holt argues that the social construction of the public schoolboy, a figure made ubiquitous by a huge body of fictional, biographical, and journalistic work, had a disproportionate role to play in the development of social perceptions of adolescence and in forming ideas of how young people should be educated to become citizens in an age of increasing democracy. With attention to an admirably wide range of popular books as well as examples from the periodical press, Jenny Holt begins with a discussion of the ideas of late-eighteenth-century social radicals, and ends with the First World War, when the more 'serious' public school literature, which sought to involve juvenile readers in complex social and political issues, declined suddenly in popularity. Along the way, Jenny Holt considers the influence of Victorian Evangelical thought, Social Darwinism, and the early-twentieth-century National Efficiency movement on concepts of adolescence. Whether it is shedding new light on well-known texts by Thomas Hughes and Rudyard Kipling, providing a fascinating discussion of works written by boys themselves, or supplying historical context for the development of the concept of adolescence, this book will engage not only scholars of childhood and children's literature but Victorianists and those interested in the history of educational practice.

In her compelling book, Ann C. Colley examines the shift away from the cult of the sublime that characterized the early part of the nineteenth century to the less reverential perspective from which the Victorians regarded mountain landscapes. And what a multifaceted perspective it was, as unprecedented numbers of the Victorian middle and professional classes took themselves off on mountaineering holidays so commonplace that the editors of Punch sarcastically reported that the route to the summit of Mont Blanc was to be carpeted. In Part One, Colley mines diaries and letters to interrogate how everyday tourists and climbers both responded to and undercut ideas about the sublime, showing how technological advances like the telescope transformed mountains into theatrical spaces where tourists thrilled to the sight of struggling climbers; almost inevitably, these distant performances were eventually reenacted at exhibitions and on the London stage. Colley's examination of the Alpine Club archives, periodicals, and other primary resources offers a more complicated and inclusive picture of female mountaineering as she documents the strong presence of women on successful expeditions in the latter half of the century. In Part Two, Colley turns to John Ruskin, Gerard Manley Hopkins, and Robert Louis Stevenson, whose writings about the Alps reflect their feelings about their Romantic heritage and shed light on their ideas about perception, metaphor, and literary style. Colley concludes by offering insights into the ways in which expeditions to the Himalayas affected people's sense of the sublime, arguing that these individuals were motivated as much by the glory of Empire as by aesthetic sensibility. Her ambitious book is an astute exploration of nationalism, as well as theories of gender, spectacle, and the technicalities of glacial movement that were intruding on what before had seemed inviolable.

Given the interdisciplinary nature of digital journalism studies and the increasingly blurred boundaries of journalism, there is a need within the field of journalism studies to widen the scope of theoretical perspectives and approaches. Theories of Journalism in a Digital Age discusses new avenues in theorising journalism, and reassesses established theories. Contributors to this volume describe fresh concepts such as de-differentiation, circulation, news networks, and spatiality to explain journalism in a digital age, and provide concepts which further theorise technology as a fundamental part of journalism, such as actants and materiality. Several chapters discuss the latitude of user positions in the digitalised domain of journalism, exploring maximal-minimal participation, routines-interpretation-agency, and mobility-cross-mediality-participation. Finally, the book provides theoretical tools with which to understand, in different social and cultural contexts, the evolving practices of journalism, including innovation, dispersed gatekeeping, and mediatized interdependency. The chapters in this book were originally published in special issues of Digital Journalism and Journalism Practice.

Long-time peace journalist Steven Youngblood presents the foundations of peace journalism in this exciting new textbook, offering readers the methods, approaches, and concepts required to use journalism as a tool for peace, reconciliation, and development. Guidance is offered on framing stories, ethical treatment of sensitive subjects, and avoiding polarizing stereotypes through a range of international examples and case studies spanning from the Iraq war to the recent unrest in Ferguson, Missouri. Youngblood teaches students to interrogate traditional media narratives about crime, race, politics, immigration, and civil unrest, and to illustrate where-and how-a peace journalism approach can lead to more responsible and constructive coverage, and even assist in the peace process itself.

Over the last 30 years 24-hour television news channels have reshaped the practice and culture of journalism. But the arrival of new content and social media platforms over recent years has challenged their power and authority, with fast-changing technologies accelerating the speed of news delivery and reshaping audience behaviour. Following on from The Rise of 24-Hour News Television: Global Perspectives (Cushion and Lewis, 2010), this volume explores new challenges and pressures facing television news channels, and considers the future of 24-hour news. Featuring a wide range of industry and academic perspectives, including the heads of some of the major international news channels (BBC Global News, Al Jazeera and Sky News, among others) as well as leading academics from around the world, contributors reflect on how well rolling television news is reinventing itself for digital platforms and the rapidly changing expectations of audiences. Overall, the 24 chapters in this volume deliver fresh insights into how 24-hour news channels have redefined rolling news journalism - or potentially could do - in order to remain relevant and effective in supplying continuous news for 21st-century audiences.

The power of the popular press presents all modern societies with difficulties. It is, however, a problem with a history: the hold of the press over public opinion was debated with urgency throughout the 19th century. This book looks at the ways in which individuals, pressure groups, political organisations and the state sought to understand the mass communications media of the 19th century, and use them to influence public opinion and effect moral and social reform. Aled Jones addresses the problem by using three approaches: first he considers the 19th century theories of the influence of communications media on patterns of social thought and behaviour; then he examines attitudes towards the press in both high and popular culture; finally he explores the social and intellectual world of the reader, the consumer both of the press as a commodity and of the hidden moral strategies that were built into it. The tensions between Victorian moral imperatives and the operation of the free commercial market raised issues of great public concern, such as whether the mass media should be under private or public control. These tensions have dominated the way in which Britain and other western societies have thought about the newer broadcasting media, but their origins are older and more complex than studies of contemporary media acknowledge.

Taking up the understudied relationship between the cultural history of childhood and media studies, this volume traces twentieth-century migrations of the child-savage analogy from colonial into postcolonial discourse across a wide range of old and new media. Older and newer media such as films, textbooks, children's literature, periodicals, comic strips, children's radio, and toys are deeply implicated in each other through ongoing 'remediation', meaning that they continually mimic, absorb and transform each other's representational formats, stylistic features, and content. Media theory thus confronts the cultural history of childhood with the challenge of re-thinking change in childhood imaginaries as transformation-through-repetition patterns, rather than as rise-shine-decline sequences. This volume takes up this challenge, demonstrating that one historical epoch may well accommodate diverging childhood repertoires, which are recycled again and again as they are played out across a whole gamut of different media formats in the course of time.

The explosion of print culture that occurred in the United States at the turn of the twentieth century activated the widespread use of print media to promote social and political activism. Exploring this phenomenon, the essays in Modern Print Activism in the United States focus on specific groups, individuals, and causes that relied on print as a vehicle for activism. They also take up the variety of print forms in which calls for activism have appeared, including fiction, editorials, letters to the editor, graphic satire, and non-periodical media such as pamphlets and calendars. As the contributors show, activists have used print media in a range of ways, not only in expected applications such as calls for boycotts and protests, but also for less expected aims such as the creation of networks among readers and to the legitimization of their causes. At a time when the golden age of print appears to be ending, Modern Print Activism in the United States argues that print activism should be studied as a specifically modernist phenomenon and poses questions related to the efficacy of print as a vehicle for social and political change.