In 1921, Ben Hecht wrote a column for the "Chicago Daily News" that his editor called "journalism extraordinary; journalism that invaded the realm of literature." Hecht's collection of sixty-four of these pieces, illustrated with striking pen drawings by Herman Rosse, is a timeless caricature of urban American life in the jazz age, updated with a new Introduction for the twenty-first century. From the glittering opulence of Michigan Avenue to the darkest ruminations of an escaped convict, from captains of industry to immigrant day laborers, Hecht captures 1920s Chicago in all its furor, intensity, and absurdity.

"The columns in "1,001 Afternoons in ""Chicago" are scruffy time capsules of an earlier Chicago, an era that is long gone but still recognizable to readers' imaginations. Michigan Avenue, Lake Michigan, street names such as Dearborn and Adams and LaSalle and Wabansia, places such as the Art Institute of Chicago--they're all here, sprinkled amid Hecht's nervous little haikus of urban life. He calls Chicago 'a razzle-dazzle of dreams, tragedies, fantasies, ' and his tales capture gorgeous scraps of it, vivid vignettes starring businessmen and hobos and cops and socialites and janitors. . . . Thanks to Hecht, the Chicago of 1922 and the Chicago of 2009 bump into each other, shake hands, exchange greetings. Then, this being Chicago, they go for a drink and talk about old times. New ones too."--Julia Keller, "Chicago"" Tribune"

"The hardboiled audacity and wit that became Hecht's signature as Hollywood's most celebrated screen-writer are conspicuous in these vignettes. Most of them are comic and sardonic, some strike muted tragic or somber atmospheric notes. . . . The best are timeless character sketches that have taken on an added interest as shards of social history."--L. S. Klepp, "Voice Literary Supplement"

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No British periodical or weekly magazine has a richer and more distinguished archive than the New Statesman, which has long been at the centre of British political and cultural life. If not quite at the centre, then at the most energetic, subversive end of the progressive centre-left. Kingsley Martin, editor of the New Statesman from 1930 to 1960, wrote that "life on the NS was always a battle. After all, I had been brought up as a dissenter and I tended to see all problems as moral issues." The magazine has notably recognized and published new writers and critics, as well as encouraged major careers. Many of the most notable political and cultural writers of the recent past have written for the New Statesman. Many have been on its staff or were associates of it: HG Wells, George Bernard Shaw, JM Keynes, VS Pritchett, Paul Johnson, Claire Tomalin, Christopher Hitchens and John Gray. The most significant intellectual and cultural currents of the age ripple through its pages. There is, too, a rich history of poetry and fiction and illustration and cartoons to draw on, from Low's sketches of the great and the good to the gonzo art of Ralph Steadman and the bold cover illustrations and caricatures of Andre Carrilho. The book is more than an anthology. It tells the story of the New Statesman, from the eve of the First World War to the long aftermath of 9/11 and the populist upheavals of today. It looks forward as well as back, offering a unique and unpredictable perspective on politics, literature and the world.

Im Internet verliert der Journalismus sein Monopol als "Gatekeeper", weil dort jeder ohne grossen Aufwand publizieren kann. Vermittlung zwischen Kommunikatoren und Rezipienten bleibt aber weiterhin notwendig. Wer aber kanalisiert die "Informationsflut" im Internet? Wer sortiert den "Informationsmull" aus? Sind es nach wie vor die professionellen Journalisten? Oder ubernehmen die Internetnutzer selbst die Aufgabe der Selektion und Prufung von Informationen? Koennen diese Prozesse technisiert werden? In dem Forschungsprojekt, das der Band vorstellt, wurde erstmals die Dreiecksbeziehung zwischen Profession, Partizipation und Technik untersucht.

Suffragists recognized that the media played an essential role in the women's suffrage movement and the public's understanding of it. From parades to going to jail for voting, activists played to the mass media of their day. They also created an energetic niche media of suffragist journalism and publications.This collection offers new research on media issues related to the women's suffrage movement. Contributors incorporate media theory, historiography, and innovative approaches to social movements while discussing the vexed relationship between the media and debates over suffrage. Aiming to correct past oversights, the essays explore overlooked topics such as coverage by African American and Mormon-oriented media, media portrayals of black women in the movement, suffragist rhetorical strategies, elites within the movement, suffrage as part of broader campaigns for social transformation, and the influence views of white masculinity had on press coverage. Contributors: Maurine H. Beasley, Sherilyn Cox Bennion, Jinx C. Broussard, Teri Finneman, Kathy Roberts Forde, Linda M. Grasso, Carolyn Kitch, Brooke Kroeger, Linda J. Lumsden, Jane Marcellus, Jane Rhodes, Linda Steiner, and Robin Sundaramoorthy

A collection of essays by top international correspondants in print, broadcasting, and photojournalism, International News Reporting offers an introduction to journalism written by the people who have made the profession what it is today. * Contributors identify the major areas of professional practice which students and young journalists need to know in order to work safely in, and understand fully, the field of international news gathering* Looks at events from conflicts to humanitarian disasters* Covers crucial topics such as how to report stories about the developing world, how to avoid stereotyping, the uses and abuses of blogging, and risk assessment for journalists in conflict zones

The Believer, a twelve-time National Magazine Award finalist, is a literature, arts, and culture magazine published by the Beverly Rogers, Carol C. Harter Black Mountain Institute, and based in the College of Liberal Arts at the University of Nevada, Las Vegas. In each issue, readers will find journalism, essays, intimate interviews, an expansive comics section, poetry, timely and untimely reviews, and on occasion, delightful and unexpected bonus items. The magazine is edited by a group of novelists, poets, artists, critics, regular readers of the Chicago Manual of Style, and aficionados of print and digital literature. Our regular columnists are Nick Hornby and Peter Orner. All editions of The Believer are perfect-bound and printed by friendly Canadians on recycled, acid-free, heavy-stock paper and suitable for archiving, framing, or reading in the tub. We publish five issues a year, including one double issue. Questions? Please give us a call: (866) 930-0264 or reach us by email: [email protected].

Saskia Sell geht der Frage nach, wie Kommunikationsfreiheit im Kontext des medientechnologischen Wandels netzoeffentlich ausgehandelt wird. Die Autorin analysiert zunachst politisch-philosophische Theorien sowie Theorien zur Ideen- und Sozialgeschichte der Kommunikationsfreiheit. Sie verknupft umfassende Grundlagenforschung zum Prinzip Kommunikationsfreiheit mit einer empirischen Analyse der aktuellen Diskursentwicklung, insbesondere mit Blick auf die Dimension der Netzfreiheit.

Alexandra Polownikow zeigt anhand einer Untersuchung von Artikeln deutscher Tageszeitungen und Wochenmagazinen zur Finanz- sowie Arbeitsmarktpolitik im Jahr 2013, dass die zunehmende Europaisierung und Globalisierung der deutschen OEffentlichkeit nicht als Gefahr fur die Legitimitat supranational Politik zu verstehen ist. Aufgrund einer hohen Transparenz der Medieninhalte und einer vergleichbaren Validierung verschiedener Positionen begreift die Autorin die Transnationalisierung als eine Chance fur Information und Verstandigung in europaischen und globalen Fragen

Winner of the 2018 PEN Translates Award for Non-Fiction Features illustrations by the Honduran artist German Andino Welcome to a country that has a higher casualty rate than Iraq. Wander streets considered the deadliest in the world. Wake up each morning to another batch of corpses - sometimes bound, often mutilated - lining the roads; to the screeching blue light of police sirens and the huddles of 'red journalists' who make a living chasing after the bloodshed. But Honduras is no warzone. Not officially, anyway. Ignored by the outside world, this Central American country is ravaged by ultra-violent drug cartels and an equally ruthless, militarised law force. Corruption is rife and the justice system is woefully ineffective. Prisons are full to bursting and barrios are flooded with drugs from South America en route to the US. Cursed by geography, the people are trapped here, caught in a system of poverty and cruelty with no means of escape. For many years, award-winning journalist Alberto Arce was the only foreign correspondent in Tegucigalpa, Honduras's beleaguered capital, and he witnessed first-hand the country's descent into anarchy. Here, he shares his experiences in a series of gripping and atmospheric dispatches: from earnest conversations with narcos, taxi drivers and soldiers, to exposes of state corruption and harrowing accounts of the aftermath of violence. Provocative, revelatory and at time heart-rending, Blood Barrios shines a light on the suffering and stoicism of the Honduran people, and asks the international community if there is more that they can do.

Studierende der Hochschule fur Musik, Theater und Medien Hannover gehen in 18 Interviews mit namhaften deutschen Musikkritikerinnen und -kritikern - darunter Volker Hagedorn, Markus Kavka, Claus Spahn, Falk Schacht und andere - der Frage nach, wie sich die Rolle von Musikjournalisten verandert. Sie ist langst nicht mehr unangefochten. Im Web 2.0 kann sich heute jeder, ob Experte oder nicht, an jenem "Gesprach uber Musik" beteiligen, das einmal das Monopol professioneller Beobachter war. Das muss nicht das Ende der Musikkritik bedeuten. Moeglicherweise steht sie sogar vor einem Neubeginn, weil nur sie Orientierung und Halt in der Informationsflut geben kann.

Regina Greck untersucht mittels einer quantitativen Befragung der journalistischen und politischen Elite in Deutschland deren Selbst- und Fremdwahrnehmung und belegt, dass sich die Elite-Journalisten teilweise im Gegensatz zu anderen Kommunikatorstudien eher als erklarende Kritiker sehen, wahrend die Politiker der Elite sie als Meinungsmacher wahrnehmen. Dabei zeigt die Autorin, dass die bisher von der Kommunikationswissenschaft vernachlassigten Gruppen die Mechanismen der Theorien der Medialisierung und des Agenda Settings kennen, besonders aber die Elite-Politiker keine stark zunehmende Medialisierung sehen. Die Auswahl der befragten Eliten stutzt sich dabei auf die Verknupfung eines elitetheoretischen Ansatzes mit dem Modell der Akteur-Struktur-Dynamiken.

Christine Heimprecht zeigt anhand einer Weiterentwicklung theoretischer Konzepte der Nachrichtenwerttheorie sowie einer Mehrebenenanalyse des internationalen Nachrichtenflusses aus 16 Landern, wie Journalisten in den verschiedensten Regionen der Welt Auslandsnachrichten gestalten, woran sie sich bei der Darstellung des Auslands orientieren und welche Einflusse der Gesellschaft die Arbeit der Journalisten pragen. Hierbei wird zum einen die enorme Bedeutung internationaler Wirtschaftsbeziehungen deutlich. Zum anderen wird die Relevanz der Pressefreiheit und des neu eingefuhrten Nachrichtenfaktors Krisenstatus bestatigt. Insgesamt wird ein neuer Blick auf die internationale Kriegs- und Krisenberichterstattung geworfen und die engen Verbindungen zwischen Politik, Militar und den Medien beleuchtet, welche weltweit die Arbeit der Journalisten beeinflussen.