Broadcast Journalism: Techniques of Radio and Television News

Covers the trends that have reshaped the world of journalism: convergence, multiskilling, citizen journalism, podcasting, online journalism, and more

An indispensible and comprehensive introduction to the field of broadcast journalism
The leading text in the broadcast journalism field

Fundamentals of Broadcast Journalism, such as news gathering, news writing, news reading, interviewing, making programmes

Up-to-date practical manual for beginning reporters hoping to enter the arenas of radio and television news

Description This newest edition of Broadcast Journalism continues its long tradition of covering the basics of broadcasting from gathering news sources, interviewing, putting together a programme, news writing, reporting, editing, working in the studio, conducting live reports, and more. Two new authors have joined forces in this new edition to present behind the scenes perspectives on multimedia broadcast news, where it is heading, and how you get there.

Technology is meshing global and local news. Constant interactivity between on-the-scene reporting and nearly instantaneous broadcasting to the world has changed the very nature of how broadcast journalists must think, act, write and report on a 24/7 basis. This new edition takes up this digital workflow and convergence. Students of broadcast journalism and professors alike will find that the sixth edition of Broadcast Journalism is completely up-to-date.

Includes new photos, quotations, and coverage of convergent journalism, podcasting, multimedia journalism, citizen journalism, and more!

Readership Aspiring radio and TV reporters and journalists; students on journalism and broadcasting courses.
Author Information By Andrew Boyd , Journalist in radio, TV and online. Reporting credits include Channel 4's Dispatches. He has taught and developed three award-winning courses in broadcast journalism and has trained many of today's top names in reporting.; Peter Stewart , Works in the BBC's newsroom for Radio Kent and South East Today.; and Ray Alexander , Manager & Lead Trainer for Television Journalism, BBC Training

Table of Contents
Preface

SECTION ONE: THE PRINCIPLES OF BROADCAST JOURNALISM

A CAREER IN BROADCAST JOURNALISM
Why bother'
Writing Skills
Qualities in the broadcast journalist
Getting A Foot Into The Door
The interview
Multi-tasking
Surviving Editorial Meetings
Formal and practical training for broadcast journalism

WHAT MAKES NEWS'
Audience: What Matters To Me'
News You Can Use
Where did it happen'
Relevance
Immediacy
Interest
Drama and Impact
Entertainment and Celebs
New, true and interesting
Different Types of News
Emergencies
Crime
Government
Planning and developments
Conflict and controversy
Pressure and lobby groups
Industry and business
Health and Medicine
Human interest
Sport
Seasonal news
Special local interest
Weather
Traffic
Animals
The Final Checklist

SECTION TWO: NEWSGATHERING

ETHICS AND RESPONSIBILITY
Regulation
The Law
Being Web Wise
The Myth Of Objectivity
Children
Ethics In Citizen Journalism
Reporting civil disorder
Camera bias
Sensationalism
Privacy and voyeurism

NEWS SOURCES
Reporters
Stories from Consumers
Hoaxes
Contacts and Sources
Newsroom Diary
Files
Check Calls
Emergency Services Radio
Politicians
Pressure Groups
Staged Events
News Releases
Syndicated recordings Freelances
Wire Services and News Agencies
The Network
Other News Media Cross-Platform Material

GETTING THE STORY
Newsroom Conference
Copytasting
Balance of News
Visuals and Actuality
The Brief
The Angle
Chasing the Contact
Staged News Conferences
Beating the Clock
Work to Sequence
Don't Panic

SECTION THREE: WRITING FOR BROADCAST

CONVERSATIONAL WRITING
Telling the Story
Writing for a Mass Audience
No Second Chance
Confusing Clauses
Inverted Sentences
Plain English
Familiar Words
Easy Listening
Accurate English
Keep It Concrete
Make It Interesting
Contractions

NEWSWRITING
The News Angle
Multi-Angled Stories
Hard News Formula
The Intro
Placing Key Words
Features Openers
Developing the Story
The WHAT formula Signposting
Last Line
Last Words
Accuracy

BROADCAST STYLE BOOK
Cliches
Journalese
Hyperbole
Adjectives
Quotations
Attribution
Contentious Statements
Immediacy
Active
Positive
Redundancies
Repetition
Homonyms
Singular or Plural'
Pronouns
Punctuation
Spelling
Abbreviations
Figures
Proof Reading
Ambiguity


SECTION FOUR: INTERVIEWING

THE INTERVIEW
The Interviewer's Skill
Different Types of Interview'
A Disaster Story? Hard News
Informational
Investigative
Adversarial
Interpretative
Personal
Emotional
Entertainment
Actuality Only
The Disaster Story Continues

SETTING UP THE INTERVIEW
Background
A Plan of Campaign - The Questions
Get Your Facts Right
Fit the Brief
Check Arrangements
Approach
The Questions
Winding Up the Interview
Being Interviewed Yourself: The Q & A

FROM 2-MINUTE HEADLINES TO 24-HOUR NEWS
The Bulletin
News Programmes
Documentary
Verite
24-Hour News
Who Does What'


SECTION FIVE: THE NEWS PROGRAMME

ITEM SELECTION AND ORDER
'A Fair Picture . . .'
Second Thoughts
Item Order
Local Considerations
Foreign Coverage
Producing a Running Order

PUTTING THE SHOW TOGETHER
Winning an Audience - The Openers
Keeping and Audience - Headlines and Promotions
Actuality
Pictures
Graphics
Programme Balance - Being All Things to All People
And Now the Good News'

MAKING THE PROGRAMME FIT
Cutting
Filling
Backtiming

SECTION SIX: PRESENTING THE NEWS

NEWS ANCHORS AND PRESENTERS
The Talent
Qualities of a Newscaster
More Than Just a Newsreader . . .
Professionalism
Voice

'ON AIR!'
Performance
Prescence
Getting Through to the Audience - Rapport
Know Your Material
Ad-Libs
The Gate
Making a Swift Recovery
Corpsing
Relaxation

NEWSREADING MECHANICS
Speed
Breathing
Projection
Emphasis
Pitch
Microphone Technique
Using the Prompter
Noise, Noise, Noise
Bringing the Story to Life

SECTION SEVEN: RADIO NEWS COVERAGE

STORY TREATMENT
Breaking News (Bulletin US)
Headline
Copy Story
Voicer or Voice Report
Teaser or Taster
Voice Report from the Scene
Interview
Newsclip
Package
Mini-Wrap or Bulletin Wrap

SECTION EIGHT THE EQUIPMENT

RECORDING
Principles of Recording
Using Portable Sound Recorders
Digital Recorders
Before the Interview

EDITING
'You Can't See the Join'
Unethical Editing
Basic Production
Multi-Tracking
Studio Mixing
Types of Fade

THE STUDIO
On-Air Studio
Talks Studio
The Contributions Studio
Remote Studios
Radio Car
Outside Broadcast Vehicle
Mobile Phones
Obscenity Button

SECTION NINE: TELEVISION

THE NEVER ENDING STORY - THE SHARING TELEVISION NEWSROOM
Television Newsrooms And The News Story
Advantages and Disadvantages
In and Out
A newsroom core server
Order from chaos - the journalist's most basic need-to-know
TV Script Types
Live Breaking News - 24/7 Newsroom
The role of UGC (User Generated Content) and the 24-hour newsroom
Types of citizen journalism

SCRIPTING TELEVISION JOURNALISM
The Intro (Cue or Link)
Complement The Pictures With The Narrative
Writing To Sound
Keep Detail To A Minimum
The Television News Package
Balancing Words With Pictures
Using Archive Pictures
The Bottom Line

GATHERING TELEVISION NEWS
Filming for TV Journalism
Cameraman/Camerawoman/Cameraperson!
Sound Recordist
Lighting technician
The Video Journalist checklist
The Journalist as advance guard - a Recce

CAMERA SHOTS
Hold the shots
Grab action shots first
Shoot for impact
Shoot in sequences
Context
Sound
Sound-bites and interviewee clips
Cutaways and bridge shots
Reverses
The Line
Continuity
Piece to Camera (PTC) also known as Stand Uppers
Special film equipment

EDITING THE SOUND AND PICTURES
Sequence of shots
Shot Length
Telescoping the action
Desktop Editing
The craft editor
The timer (time code)
The edit controller
Video mixing
Recording the commentary
Audio mixing
Editing shots for interviews
Using music

GOING LIVE - LIVE TV REPORTING IN VISION
What works well'
What works less well'
Top Tips

GRAPHICS AND DIGITAL DISPLAY VISUALS
Stills and frame grabs
Writing to still pictures and screen insets
Overlays and Chromakey (CSO)
Big Screen Video Wall
Acronyms in Visuals

PRESENTING TELEVISION NEWS
Qualities of the television news presenter
What To Wear
Men And Their Ties
Colours and fabrics
Autoscript
"Fill For Ten Seconds!"
Nerves
Make Up and Perception
"Coming up"

THE TELEVISION NEWS STUDIO
Standby for transmission
The Set
Lighting
Cameras
Sound
The floor manager
Control Room
The Director
Running order and the studio

THE ELEMENTS OF JOURNALISM

What Newspeople Should Know and the Public Should Expect - Introduction
June 19, 2006
by Bill Kovach and Tom Rosenstiel

INTRODUCTION

As anthropologists began comparing notes on the world's few remaining primitive cultures, they discovered something unexpected. From the most isolated tribal societies in Africa to the most distant islands in the Pacific, people shared essentially the same definition of what is news. They shared the same kind of gossip. They even looked for the same qualities in the messengers they picked to gather and deliver their news. They wanted people who could run swiftly over the next hill, accurately gather information, and engagingly retell it. Historians have pieced together that the same basic news values have held constant through time. "Humans have exchanged a similar mix of news . . . throughout history and across cultures," historian Mitchell Stephens has written.1

How do we explain the mystery of this consistency? The answer, historians and sociologists have concluded, is that news satisfies a basic human impulse. People have an intrinsic need -- an instinct -- to know what is occurring beyond their direct experience.2 Being aware of events we cannot see for ourselves engenders a sense of security, control, and confidence. One writer has called it "a hunger for human awareness."3

One of the first things people do when meeting a friend or acquaintance is share information. "Have you heard about . . . ?" We want to know if they've heard what we have, and if they heard it the same way. There is a thrill in a shared sense of discovery. We form relationships, choose friends, make character judgments, based partly on whether someone reacts to information the same way we do.

When the flow of news is obstructed, "a darkness falls," and anxiety grows.4 The world, in effect, becomes too quiet. We feel alone. John McCain, the U.S. senator from Arizona, writes that in his five and a half years as a prisoner of war in Hanoi, what he missed most was not comfort, food, freedom, or even his family and friends. "The thing I missed most was information -- free uncensored, undistorted, abundant information."5

Call it the Awareness Instinct.

We need news to live our lives, to protect ourselves, bond with each other, identify friends and enemies. Journalism is simply the system societies generate to supply this news. That is why we care about the character of news and journalism we get: they influence the quality of our lives, our thoughts, and our culture. Writer Thomas Cahill, the author of several popular books on the history of religion, has put it this way: you can tell "the worldview of a people . . . the invisible fears and desires . . . in a culture's stories."6

At a moment of revolution in communications, what do the stories we tell say about our worldview, our fears, desires, and values?

This book began on a rainy Saturday in June 1997, when twenty-five journalists gathered at the Harvard Faculty Club. Around the long table sat editors of several of the nation's top newspapers, as well as some of the most influential names in television and radio, several of the top journalism educators, and some of the country's most prominent authors. They were there because they thought something was seriously wrong with their profession. They barely recognized what they considered journalism in much of the work of their colleagues. Instead of serving a larger public interest, they feared, their profession was damaging it.

The public, in turn, increasingly distrusted journalists, even hated them. And it would only get worse. By 1999, just 21% of Americans would think the press cared about people, down from 41% in 1985.7 Only 58% would respect the press's watchdog role, a drop from 67% in 1985. Less than half, just 45%, would think the press protected democracy. That percentage had been nearly ten points higher in 1985.8

What was different that day in Cambridge was that many of the journalists in the room -- and around the country -- were beginning to agree with the public. "In the newsroom we no longer talk about journalism," said Max King, then editor of the Philadelphia Inquirer. "We are consumed with business pressure and the bottom line," agreed another editor. News was becoming entertainment and entertainment news. Journalists' bonuses were increasingly tied to the company's profit margins, not the quality of their work. Finally, Columbia University professor James Carey offered what many recalled as a summation: "The problem is that you see journalism disappearing inside the larger world of communications. What you yearn to do is recover journalism from that larger world."

Implied in that was something more important. If journalism -- the system by which we get our news -- was being subsumed, what would replace it? Advertising? Entertainment? E-commerce? Propaganda? Some new hybrid of all these? And what would the consequence be?

The answers matter, the group thought, to the public and news-people both. Journalism provides something unique to a culture -- independent, reliable, accurate, and comprehensive information that citizens require to be free. A journalism that is asked to provide something other than that subverts democratic culture. This is what happens when governments control the news, as in Nazi Germany or the Soviet Union. We're seeing it again in places like Singapore, where news is controlled to encourage capitalism but discourage participation in public life. Something akin to this may be taking root in the United States in a more purely commercial form, as when news outlets owned by larger corporations are used to promote their conglomerate parent's products, to engage in subtle lobbying or corporate rivalry, or are intermingled with advertising to boost profits. The issue isn't just the loss of journalism. At stake is whether, as citizens, we have access to independent information that makes it possible for us to take part in governing ourselves.

The group decided on a plan: engage journalists and the public in a careful examination of what journalism was supposed to be. We set out to answer two questions. If newspeople thought journalism was somehow different from other forms of communication, how was it different? If they thought journalism needed to change but that some core principles needed to endure, what were those principles?

Over the next two years, the group, now calling itself the Committee of Concerned Journalists, organized the most sustained, systematic, and comprehensive examination ever conducted by journalists of news gathering and its responsibilities. We held 21 public forums attended by 3,000 people and involving testimony from more than 300 journalists. We partnered with a team of university researchers who conducted more than a hundred three-and-a-half-hour interviews with journalists about their values. We produced two surveys of journalists about their principles. We held a summit of First Amendment and journalism scholars. With the Project for Excellence in Journalism we produced nearly a dozen content studies of news reporting. We studied the history of those journalists who came before us.

This book is the fruit of that examination. It is not an argument. It is, rather, a description of the theory and culture of journalism that emerged from three years of listening to citizens and journalists, from our empirical studies, and from our reading of the history of the profession as it evolved in the United States.

We learned, among other things, that society expects journalists to apply this theory, and citizens to understand it, though it is seldom studied or clearly articulated. This lack of clarity, for both citizens and newspeople, has weakened journalism and is now weakening democratic society. Unless we can grasp and reclaim the theory of a free press, journalists risk allowing their profession to disappear. In that sense, the crisis of our culture, and our journalism, is a crisis of conviction.

There are, we have distilled from our search, some clear principles that journalists agree on -- and that citizens have a right to expect. They are principles that have ebbed and flowed over time, but they have always in some manner been evident. They are the elements of journalism.

The first among them is that the purpose of journalism is to provide people with the information they need to be free and self-governing.

To fulfill this task:

Journalism's first obligation is to the truth.


Its first loyalty is to citizens.


Its essence is a discipline of verification.


Its practitioners must maintain an independence from those they cover.


It must serve as an independent monitor of power.


It must provide a forum for public criticism and compromise.


It must strive to make the significant interesting and relevant.


It must keep the news comprehensive and proportional.


Its practitioners must be allowed to exercise their personal conscience.
Why these nine? Some readers will think items are missing here. Where is fairness? Where is balance? After synthesizing what we learned, it became clear that a number of familiar and even useful ideas -- including fairness and balance -- are too vague to rise to the level of essential elements of the profession. Others may say this list is nothing new. To the contrary, we discovered that many ideas about the elements of journalism are wrapped in myth and misconception. The notion that journalists should be protected by a wall between business and news is one myth. That independence requires journalists be neutral is another. The concept of objectivity has been so mangled it now is usually used to describe the very problem it was conceived to correct.

Nor is this the first moment that the way we get news has gone through momentous transition. It has happened each time there is a period of significant, social, economic, and technological change. It occurred in the 1830s and 1840s with the arrival of the telegraph, in the 1880s with the drop in prices of paper and the influx of immigrants. It occurred again in the 1920s with the invention of radio and the rise of the tabloids and the culture of gossip and celebrity. And it occurred with the invention of television and the arrival of the Cold War.

It is occurring now with the advent of cable followed by the Internet. The collision this time may be more dramatic. For the first time in our history, the news increasingly is produced by companies outside journalism, and this new economic organization is important. We are facing the possibility that independent news will be replaced by self- interested commercialism posing as news. If that occurs, we will lose the press as an independent institution, free to monitor the other powerful forces and institutions in society.

In the new century, one of the most profound questions for democratic society is whether an independent press survives. The answer will depend on whether journalists have the clarity and conviction to articulate what an independent press means, and whether, as citizens, the rest of us care.

This book is intended as a first step in helping journalists articulate those values and helping citizens create a demand for a journalism connected to the principles that spawned the free press in the first place.



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ENDNOTES
1. Mitchell Stephens, History of News: From the Drum to the Satellite (New York: Viking Press, 1988), 34.

2. Harvey Molotch and Marilyn Lester, "News as Purposive Behavior: On the Strategic Use of Routine Events, Accidents and Scandal," American Sociological Review, 39, February 1974, 101-112.

3. Stephens, History of News, 18.

4. Ibid.

5. John McCain, with Mark Salter, Faith of My Fathers (New York: Random House, 1999), 221.

6. Thomas Cahill, The Gift of the Jews: How a Tribe of Desert Nomads Changed the Way Everyone Thinks and Feels (New York: Nan A. Talese/Anchor Books, 1998), 17.

7. Committee of Concerned Journalists (CCJ) and the Pew Research Center for the People and the Press, "Striking the Balance: Audience Interests, Business Pressures and Journalists' Values" (March 1999), 79.

8. Ibid.

Journalist

The collecting, writing, editing, and presenting of news or news articles in newspapers and magazines and in radio and television broadcasts.

Material written for publication in a newspaper or magazine or for broadcast.
The style of writing characteristic of material in newspapers and magazines, consisting of direct presentation of facts or occurrences with little attempt at analysis or interpretation.

American Heritage Dictionary:

Broadcast journalist

Broadcast journalists are responsible for investigating, gathering and reporting on news and current affairs. They are expected to present this information in a fair, balanced and accurate way through news bulletins, documentaries and other factual programmes for radio, television and online broadcast.

Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) defines broadcast journalism as 'the collection, verification and analysis of events which affect people'. The work of a broadcast journalist shapes people's perceptions of the world in which they live and therefore has a far-reaching impact.

Broadcast journalists can fill a number of roles within the media including editor, reporter, presenter/news anchor, producer and correspondent.

Typical work activities
Although exact duties and responsibilities will vary from role to role and between radio, television and the internet, broadcast journalists will generally be involved in many of the following duties, on a daily basis:

generating ideas for stories/features and following leads from news agencies, the police, the public, press conferences and other sources;
pitching ideas to editors and commissioners;
researching and collating evidence and information to support a story using relevant information sources (internet, archives, databases, etc);
writing scripts for bulletins, headlines and reports which adhere to legal and contractual guidelines;
selecting appropriate locations, pictures and sound and exercising editorial judgement on the best angle to approach a story from;
identifying necessary resources and deploying/managing technical crews for location shoots, including sound operators and camera crew;
providing directorial input, advising crews on what to film or record;
using portable digital video (DV) cameras and other equipment to record material and appropriate editing software to produce complete packages for broadcast;
preparing and presenting material 'on air' for both pre-recorded and live pieces;
identifying potential interviewees, briefing them, preparing interview questions and conducting both live and recorded interviews;
preparing timings for each news item and monitoring these during broadcast;
deciding on the running order for bulletins and making any necessary changes during broadcast;
developing and maintaining local contacts and assuming a public relations role.
Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) has developed a set of national occupational standards which details the responsibilities expected from broadcast journalists.

Work conditions
Range of typical starting salaries: £13,000 - £22,000. Starting salaries vary significantly between local and national broadcasters (salary data collected Feb 09).
Range of typical salaries at senior level/with experience (e.g. after 10 - 15 years in the role): £22,000- £52,000 but can be over £100,000 in exceptional cases (salary data collected Feb 09). Wages differ widely depending on the employer and the location. The Independent (http://www.independent.co.uk) estimates that the basic average salary at this level is approximately £30,000.
Pay tends to be higher in television than radio. Independent local radio posts tend to offer the lowest starting salaries. Additional allowances may be paid for shift work and unsocial hours and a London weighting may be available. Freelance reporters are often on individually negotiated contracts.
Working hours typically include regular unsocial hours. Shift work is common, starting early to cover regional news on breakfast radio/television shows or working mid-morning until late evening for afternoon/evening bulletins. Weekend work is often required and most broadcasters do not take public holidays. On-air presenters are less likely to go out on location to cover stories and their working hours may be more predictable/social.
The media is a volatile industry, characterised by short-term contract employment. Many broadcast journalists may be freelance and may have to relocate or travel according to availability of work.
Diversity in the media is still an issue. The 2006 census from Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) estimated that only 38% of the workforce were women, 7% from minority ethnic groups and employees with disabilities accounted for only 1% of the workforce. However, initiatives such as BBC Extend (http://www.bbc.co.uk/jobs/extend/) , Cultural Diversity Network (http://www.culturaldiversitynetwork.co.uk) , Journalism Diversity Fund (http://www.journalismdiversityfund.com) and George Viner Memorial Fund (http://www.georgeviner.org.uk) . are attempting to address this concern and according to the Office of Communications (Ofcom) in 2007, the proportion of people from minority ethnic backgrounds and people with disabilities employed in broadcasting appeared to be gradually increasing.
Job opportunities can be found across the UK. Work for network stations will tend to be London or regionally based. There are usually more opportunities at local level, through regional stations. Digital Audio Broadcasting (DAB) has opened many new opportunities across radio and television.
The work can be stressful and pressurised; broadcast journalists always work to strict deadlines and need to react as and when a story breaks. The work sometimes involves interacting with people at moments of crisis or tragedy which can be emotionally challenging.
There is frequent travel within a working day and absence from home at night. Overseas work or travel is occasional but more common for specialist correspondents.
Entry requirements
There are three main entry routes into broadcast journalism:

direct entry into a traineeship (though positions are scarce);
moving across from print journalism (usually for those with several years' experience);
'pre-entry' by completing an accredited degree or postgraduate qualification (most popular route).
Although this area of work is open to all graduates, a degree in journalism, or business, finance/economics or government/politics may increase your chances, particularly if wishing to pursue a career as a special correspondent. The industry is divided over the value of undergraduate journalism and media studies degrees, so it is worth investigating which courses have industry recognition or recommendation and studying the success rates of their alumni. Details of relevant courses can be obtained from the following accrediting bodies: National Council for the Training of Journalists (NCTJ) (http://www.nctj.com) ; and the Broadcast Journalism Training Council (http://www.bjtc.org.uk) .

Entry is not usually possible with an HND only.

Postgraduate entry is the most common route to this profession. The BJTC and NCTJ also accredit postgraduate courses which offer both theoretical and practical training. Information about funding for postgraduate study is available from Broadcast Journalism Training Council (http://www.bjtc.org.uk) (BJTC) and from the journalism department at City University (http://www.city.ac.uk) .

In recent years, the media has introduced a number of initiatives, such as the Journalism Diversity Fund (http://www.journalismdiversityfund.com) , to encourage applications from traditionally under-represented groups. Support is, therefore, available for those who may not have studied in higher education. Details of many schemes are available through the Cultural Diversity Network (http://www.culturaldiversitynetwork.co.uk) .

Potential candidates will need to show evidence of some or all of the following:

an interest in news, current affairs and a good general knowledge;
excellent written communication;
good oral communication, with an authoritative voice, confidence in front of a camera and an 'on air' presence;
an understanding of appropriate technical equipment and relevant editing software;
ability to work under pressure, both within teams and individually;
outstanding analytical skills and ability to absorb, extract and present information in a clear and understandable way;
an interest in people/building rapports, able to handle interactions with sensitivity, empathy and diplomacy;
an eye for a story, with an ability to generate original ideas and the confidence to pitch to senior editors;
resourcefulness and creative problem-solving skills.
Work experience, whether paid or unpaid, can be a useful way to develop these skills. The BBC (http://www.bbc.co.uk) and Independent Television (ITV) (http://www.itv.com) regional news both run small sponsored news traineeship schemes. Competition for both traineeships and unpaid work placements at larger network stations is fierce. Making direct approaches to individual editors or producers may therefore prove more fruitful than applying via recruitment departments, as may focusing on local stations. Local press, hospital radio and community media (Community Media Association (http://www.commedia.org.uk) ) are excellent training grounds, as is any involvement in student media (largely magazine, newspaper or radio). Applications, even for work experience, will be stronger if accompanied by demo tapes or cuttings and student media is an ideal place to start building a portfolio. Make yourself known to as many people as possible, be flexible and available at all times. Volunteer to get involved wherever you can and do not be afraid to be pro-active.

There are no age restrictions for entry. Skills, experience and qualifications are the main criteria for selection. It is illegal for employers to discriminate against candidates on the grounds of age, gender, race, disability, sexual orientation or religious faith. For more information on equality and diversity in the job market see handling discrimination.

For more information, see work experience (www.prospects.ac.uk/workexperience) and find courses and research (www.prospects.ac.uk/pg).

Training
If entry has been via an accredited course, it will be expected that the necessary basic training needed to practise in the profession will have been covered. For those who have not come via this route, gaining an understanding of media law and health and safety is normally considered an immediate training need. A substantial amount of training will be informal and 'on the job'. It is usual for trainee journalists to initially be assigned basic tasks such as working autocues and fetching tapes, gaining an insight into the whole process, before they move into more specific and responsible roles.

As budgets are stretched, multi-skilling is becoming more prevalent in the media. Many broadcast journalists find that they can now be responsible for recording and editing their own footage. Acquiring knowledge and understanding of technical equipment and relevant software is, therefore, currently a key training need and many employers will require/support training in these areas.

The media is a fast-paced, ever-evolving industry. Its professional bodies (Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) , National Council for the Training of Journalists (NCTJ) (http://www.nctj.com) and National Union of Journalists (NUJ) (http://www.nuj.org.uk) ) recognise the need to support journalists in their continual professional development in order to stay ahead of the game. Short courses include: negotiating contracts; public relations; sub-editing; interviewing skills; as well as new technologies.

The Media Courses and Multimedia Courses Directory (http://www.bfi.org.uk/education/talkscourses/mediacourses/) , compiled by Skillset and BFI, lists over 6,000 available courses. Others can be found through Journalism.co.uk (http://www.journalism.co.uk) or BBC Academy (http://www.bbctraining.com) including some free online courses.

Career development
Broadcast journalists who start in television will often begin as newsroom assistants or researchers, before moving into a reporting role. As experience is gained, there is scope to specialise; some may choose to focus on pursuing a senior broadcast journalist role with responsibility for managing news staff and budgets while others may prefer to become a studio-based news anchor or presenter. Another route may be to specialise to become a correspondent. The ultimate aim for the latter may be to secure a position as a senior correspondent on network news, though these positions are highly coveted and few and far between.

Investigative journalism or documentary journalism are also possible career development options. Those who wish to move behind the scenes may aspire to become programme editors/sub-editors or producers.

Radio differs slightly in that trainees are normally given greater responsibility earlier on. Depending on the size of the station, they may even find that they have sole responsibility for a newsroom from the outset. Progression would normally be to positions with larger commercial or network stations or across into television and then as above.

Typical employers
Employers of broadcast journalists include:

BBC (http://www.bbc.co.uk)
Bloomberg (http://www.bloomberg.com)
ITN (http://www.itn.co.uk)
Independent Television (ITV) (http://www.itv.com)
Channel 4 Television (http://www.channel4.com)
Sianel Pedwar Cymru (S4C) (http://www.s4c.co.uk)
Five TV (http://about.five.tv/)
independent production companies
international news agencies such as Reuters (http://today.reuters.com)
digital, cable and satellite networks.
Competition for jobs with network broadcasters is extremely tough. However, digital broadcasting has created new openings for broadcast journalists, with the arrival of 24-hour news channels and niche programming and increased opportunities in ethnic broadcasting.

Employers from the radio sector include BBC national and regional stations, as well as local and national commercial radio stations, (see The Local Radio Company (http://www.thelocalradiocompany.com) or RadioCentre (http://www.radiocentre.org) for contact details).

Sources of vacancies
Search graduate jobs (www.prospects.ac.uk/links/jobvacs).

BBC (http://www.bbc.co.uk)
Broadcast Journalism Training Council (http://www.bjtc.org.uk) .
Broadcast (http://www.broadcastnow.co.uk) and Broadcast Freelancer (http://www.broadcastfreelancer.com)
Campaign (http://www.campaignlive.co.uk)
Guardian Jobs (http://jobs.guardian.co.uk) - Mondays and Saturdays
Hold the Front Page (http://www.holdthefrontpage.co.uk)
The Independent (http://www.independent.co.uk)
ITV Jobs (http://www.itvjobs.com)
Journalism.co.uk (http://www.journalism.co.uk)
Media Week (http://www.mediaweek.co.uk)
Press Gazette (http://www.pressgazette.co.uk)
There are a small number of recruitment agencies specialising in journalism, including The Media Network (http://www.tmn.co.uk) . Some presenters may use an agent.

See also job hunting tips (www.prospects.ac.uk/links/jobhunt) and applications, CVs and interviews (www.prospects.ac.uk/links/appsinterviews).

Qualities of a good radio journalist

There has rarely been a better time to start in radio. More people are
employed in radio in the UK than in television. The industry is growing
Working in radio


fast and the main problem facing many editors is finding sufficient staff
and freelancers who can do the job. Note the words ‘who can do the job’.
There is no shortage of people who would like to do it. Sadly, not all of
them have abilities to match their ambition.


It is essential that you should know what you want to do. The first letters
to be rejected by radio stations usually start: ‘I would be willing to do
anything, including making the tea.’ The writers of such letters believe
they are increasing their chances of employment by showing versatility. In
fact, people who are too dazzled by radio in general are unlikely to be
much use in practice.


Apart from journalists, the other major on-air performers are the presenters.
The term ‘presenter’ can cover all kinds of broadcasting, from being a
DJ on a fast-moving dance show to reading the shipping forecast on Radio
Four. On BBC local radio stations, the presenters of the main programmes
at breakfast, lunch and drive time are usually experienced journalists.


A competent radio journalist has to combine the traditional talents of the
reporter with the newer skills. Some know a little about a lot. Others, like
specialist reporters, know a lot about a little. Traditional talents mean an
ability to write clear, easily understood English, a knack of summarizing
complicated situations, asking pertinent but pithy questions and – most
important of all – a ‘nose for news’ or knowing what makes a good
news story.


In addition, the radio journalist must feel at home with technical equipment
and digital editing techniques. This means hard disk editing, recording
links and packages, reading self-op live bulletins on air and conducting
interviews. If many of these terms mean nothing, do not worry. They are
all explained later.


The good radio journalist is flexible, technically competent, capable of
working under extreme time pressure, able to prioritize and juggle dealing
with a major disaster and a funny story in the same hour. Journalists must
also be able to think well on their feet, perhaps recording an interview or
writing details of a court case story literally a few seconds before they are
due on air.


The quality of imagination in a radio journalist does not mean the quality
of making up stories, but having ideas for news stories and their treatments,
as well as seeing newsworthy possibilities in unpromising places,
like apparently endless council meeting minutes and agendas.

Basic Radio Journalism
Paul Chantler and Peter Stewart

Understanding Radio

People listen to radio news when they need to know quickly what is going
on. They realize that because radio news is so simple and short, it is up to
date and has to concentrate simply on reporting the facts.

Speed and simplicity
Radio is probably at its best when it is ‘live’ or reacting to an event
happening ‘now’. Because there are relatively few technicalities, a news
story can be on the air in seconds and updated as it develops. Radio works
best with news stories which require a quick reaction. There is a flexibility
which exists in no other media because comparatively few people are
involved in the process.

Radio can simply be one person and a telephone. There are no cameras,
lights or production assistants. Usually, it is just one broadcaster and a
microphone or telephone separating him or her from the listener. You
should always strive to make use of radio’s greatest assets – speed and
simplicity.


Making pictures
Radio is the best medium to stimulate the imagination. By doing what
radio does best – getting on the air from a scene quickly and describing
the event so the listener can visualize what is happening – you are using
the most powerful tools you possess: immediacy and imagery.
The listener is always trying to imagine what he or she hears and what is
being described. These pictures are emotional – such as the tearful voice
of a mother appealing for information about her missing teenage daughter.
Pictures on radio are not limited by the size of the screen; they are any
size you wish.


Person-to-person
Radio is a very personal medium. The broadcaster is usually speaking
directly to the listener. This is why it is so important to think of the audience
as singular. When you talk on the radio, you are not broadcasting to the
masses through a gigantic public address system. You are talking to one
person in the way you would speak if you were holding a conversation
over a cup of coffee or pint of beer.
Radio also allows the full emotions of the human voice to be heard, from
laughter through anger and pain to compassion. The sound of a voice can
convey far more than reported speech. This is because the way something
is being said is just as important as what is being said.


Localness
The biggest strength of broadcasting news on local radio is that it gives a
station its sense of being truly local. Local radio stations aiming for a
broad audience ignore news at their peril. In an increasingly competitive
marketplace, news is one of the few things which makes a local station
sound distinctive and ‘close to you’.

News from ‘around the corner’ is often just as important to a listener as
news from around the world – if not more so in many cases. However,
there is a danger of becoming too local. Policy judgements have to be
made about what is local and what is too parochial or parish pump. Local
radio news bulletins are not audio versions of local newspapers, for
reasons of space if nothing else. The judgement of how local is local is an
important one. For example, a story about a cat up a tree is too parochial
for all radio stations. The same story about a firefighter being killed while
trying to rescue the cat is not only a good local story, it is almost certainly
a national one as well.


Basic Radio Journalism
Paul Chantler and Peter Stewart

Three tools Journalism 101 should introduce to students

Three tools Journalism 101 should introduce to students

NOVEMBER 16, 2010 BY JOSHUA LYNCH ADD COMMENT SHARE

The AP Stylebook may be handy, but it's not the only tool Journalism 101 students should be handed. Photo by Lee Bennett on Flickr.

Looking back at my college education, I’m left wishing that I had been introduced to some tools a bit earlier. Instead of being set up as a life-long learner and digital journalist, I was required to buy an Associated Press Stylebook and spent my time practicing how to bang out different types of ledes that blend into different story structures.

That material is not complex, but some people have the knack for it and lots don’t. The camp of students that does get it right away (and is already practicing it at the student paper or internships) suffers through the rest of the semester while professors patiently try teaching the same things in different ways to students who don’t get it. Years later, as graduation approached, I realized lots of the students who had held back the class because they didn’t understand the basics were either no longer in the program—or still couldn’t write a good hard news lead and a basic inverted pyramid.

The attitude was that everything worth learning could be gained by religiously attending class and doing one or two internships.

I can’t help wondering what I would have already learned independently had my journalism professors introduced me to these three tools for learning journalism:

1. Blogging

Throughout my journalism program, professors required students to start up a blog, usually using Blogger, and use it for a variety of purposes, including actually blogging about a neighborhood or topic a few times during the course or just posting assignments to it in an effort to go paperless and encourage online discourse between classmates.

What I wish would have happened is that my professors across courses worked to graduate bloggers. That means introducing us to good blogging software (so definitely not Blogger) and guiding us through setting up those blogs (buying domains, setting up hosting, etc.); focusing in on a blogging topic that we were passionate about and would blog about; continually emphasizing blogging best practice along with print journalism techniques; and working across classes and the program to start and stick with one blog.

Blogging would be a like a whole new classroom for journalism students, and the benefits would be many, including: introducing students to essential technology for web publishing, teaching them to network through the Internet effectively and giving them practice writing in a less formal, conversational manner for web readers.

2. RSS Reader

Sure, many programs have classes that require students to read their local newspaper and even take quizzes on the news. It’s an effective way to force students to start a news-reading habit if they didn’t have one already. But it also pretends that there aren’t plenty of other sources out there that will help students pick up journalism skills—namely blogs about social media, new media, journalism, etc. Having students read blogs like Mindy McAdams’ Teaching Online Journalism blog is like enrolling them in a whole new journalism class.

3. Twitter and other social media

Twitter was in its infancy when I was entering my journalism program, but now that it’s widely accepted as an excellent tool for many tasks in journalism, it’s time journalism professors learn about it themselves and then get students using it as a networking tool, social version of an RSS reader, and a method of sourcing stories and engaging with audiences.

Read more

Eight trends for journalism in 2011

Trend 1: Tivo for news

Trend 2: More sharing of content, in both directions

Trend 3: The singles model for news

Trend 4: We’ll do it live

Trend 6: Trimming back in nonprofits

Trend 7: New front pages

Trend 8: A shift in Google results


Read More here

Talented Young People

Talented Young People

The Jakarta Globe Need Reporters

The Jakarta Globe, an English newspaper, is looking for reporters to fill
up vacancies in business desk.

Journalists/ reporters who have good English competency, background in economics beat are strongly recommended to apply although they are not the ultimate consideration for the employment.

- The paper is also offering positions for fresh graduates (Bachelor degree
and higher) or experts from non-journalism field to join with special
considerations. Please put your reasoning why you are interested in joining
us.
- Highly motivated, adaptable, good personalities, those who can work under
pressures and committed to deadlines are candidates that the paper is
looking for.
- Attractive packages and benefits.

Please send your CV, *example of any English written articles, either has
been published in the media or not (academics writing will also be counted),
*scanned (JPG) version of any IELTS, TOEFL certificates as well as cover
letter, explaning why you are interested in joining the paper to these
emails:

ari.works@gmail.com or hhglobe@yahoo.com or newsdesk@thejakartaglobe.com

Or you can send your applications to: PT Jakarta Globe Media, Kawasan Bisnis
Granadha, Plaza Semanggi 9th Floor,
Jl. Jend. Sudirman Kav. 50, Karet Semanggi, Jakarta 12930

Lowongan wartawan Antara

Bagi yang ingin karir sebagai wartawan, kantor berita Antara membuka peluang baru:

ANTARA membuka lowongan untuk wartawan baru dgn Persyaratan:

1. Pria/wanita maks 25 th
2. Pendidikan S1
3. Punya pengalaman jurnalistik lebih diutamakan
4. Punya kemampuan komunikasi yg memadai
5. TOEFL score 500

Bagi yg berminat/ada teman/saudaranya yg mau berkarir menjadi wartawan, silahkan kirim surat lamaran, CV, foto terbaru (4x6) dan copy of TOEFL ke :
Departemen SDM Perum LKBN ANTARA, Wisma Antara Lantai 19, Jl Medan Merdeka Selatan No 17 Jakarta 10110

Atau bisa via email ke: personalia@antara. co.id

Web Journalism

Web Journalism
Practice and Promise of a New Medium
James Stovall
Feb 2004, Paperback, 256 pages
ISBN13: 9780205353989
ISBN10: 0205353983

Description

Journalism on the Web explores the current practices and future possibilities of Web journalism and examines the characteristics of the Web that distinguish it from traditional media.

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Contents


Preface


1. Logging on to the Web.
What Is the World Wide Web?Disadvantages of the Web.Whither Web Journalism?SIDEBAR: September 11, 2001.SIDEBAR: The President and the Intern.SIDEBAR: The Starr Report.COOL IDEAS: Don't Read and Drive; Listen Instead.

2. News Web Sites.
Defined and Current.Owned and Operated.Developing a Web Site (Or Not).Growing the Web Site.Independently Owned.News Sites that Didn't Mean to Be.Web Logs: A New Form of Journalism?Whither Web Sites?SIDEBAR: Content Management Systems.

3. News: Expanding the Definition.
Old News, Good News.News, and More of it.No More Deadlines.Non-Linearity.Audience-Generated News.Personalized News.Web Logs as News.Unseparating Church and State.And Finally…COOL IDEAS: If Readers Could Choose.

4. Reporting: Gathering News for the Web.
Something Old, Something News.Reporting: Where Journalism Begins.What Makes a Good Reporter.Sources and Procedures.Stored Sources.Speed and No Deadlines.Versatility and Teamwork.Beyond Traditional Sources.Lateral Thinking: Mind Expansion for the Web Journalist.Layering Information.What It Takes.

5. Writing.
Writing for the Media.Techniques of Journalistic Writing.Structures from Print.Web Writing Structures.Summaries.Writing for Visual Effect.New Forms of Writing.Web Logs.It's Still About Journalism.

6. Editing.
Editing for the Web.Upholding Standards.First Duty: Know the Language.Second-Level Editing: Formulating the Language.Headline, Summaries and Links.The Editor-Reporter Relationship.Convergence: Where Media Meet.Site Design and Organization.Encouraging and Managing Interactivity.Preserving the Site.SIDEBAR: Journalistic Style.SIDEBAR: The Five Commandments for the Copyeditor.

7. Photojournalism
Photojournalism: Journalism, Only Different.Life and Times of the Photojournalist.Developing the Good Picture.The Photo in Print.The Digital Revolution.The Web: Medium of Acceptance and Change.Ethical Considerations.Photo Web Sites.The Promise of the Web.

8. Graphics Journalism: Words and Pictures Together.
Graphics Revolution.Informational Graphics.Type-Based Graphics.Chart-Based Graphics.Three Basic Charts.Maps.Developing Infographics.Graphics on the Web.The Immediacy of Graphics Journalism.Animation.Conclusion.COOL IDEAS: Floating in Words.

9. Audio and Video: Sound and Little Fury.
The Web and Broadcast News.Reporting and Writing for Broadcast.Story Structure.Broadcasting Formats.Broadcast News Web Sites.Webcasting and Video on Demand.SIDEBAR: Broadcast Style.SIDEBAR: On-the-Air to Online.

10. Design: What Goes Where.
Sept. 11 and Beyond.Design and Layout.Visual Logic.Design Concepts.Three Elements of Design.Web Site Design.Organizing a Web Site.Web Pages.The Front Page.Section Fronts.Article Pages.Special Sections.Conclusions.

11. Engaging Audiences.
The Death of All Media.A Growing Audience.The Interactive Audience.Audience-Oriented Forms.Personalization: The Daily Me.Paying for It.Tracking Audiences.

12. Media Law Online (by Amelia Parker).
Broadcast Regulation.Decency Online.Defamation.Privacy.Copyright.Obscenity and Indecency.Conclusion.

13. The Web Culture: Inside MSNBC.


14. Big Issues.
Galloping Technology.The Digital Divide.Profitability.Will Newspapers Survive?The End of Journalism as We Know It.

Appendices.
Appendix A: Newsgathering Techniques.Appendix B: Journalistic Style.Appendix C: Type and Typefaces.

Journalism Ethics and Regulation

2nd Edition
Chris Frost
Mar 2007, Paperback, 352 pages
ISBN13: 9781405835367
ISBN10: 1405835362

Description

Journalism Ethics and Regulation looks closely at the ethical considerations, moral dilemmas and challenges the practicing journalist faces every day. It provides journalism students and trainee journalists with the tools to make informed ethical decisions in their working lives.

In addition, Journalism Ethics and Regulation guides students through the maze of regulatory frameworks and codes of practice which they often find tough to negotiate.

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Contents

1. Introduction

2. What Are Ethics?

3. News: Towards a Definition

4. Morality of Reporting

5. The Good Journalist

6. Truth, Accuracy, Objectivity and Trust

7. Privacy and Intrusion

8. Gathering the News

9. Reporting the Vulnerable

10. Deciding What To Publish

11. Taste and Decency; Harm and Offence

12. Professional Practice

13. Regulation

14. History of Print Regulation

15. History of Broadcast Regulation

16. Codes of Conduct as a Regulatory System

17. Regulation Systems in the UK

18. The Experience Abroad

19. The Future

20. Appendices

21. Glossary and Bibliography

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Features

* Comprehensive coverage of core ethical issues such as the ethics of news gathering, intrusion and privacy, and the difficulties of achieving truth, accuracy and objectivity under pressure
* Looks at what underpins ethics both in terms of everyday, minute-to-minute decisions and from where - historically and philosophically - codes and practices have emerged
* Extensively illustrated with topical examples and synthesises the major recent research into the area
* Considers the differences in regulation (both self and statutory) and practice between print and broadcast journalism and how these distinctions are blurring and changing
* Provides detailed coverage of the main codes of practice and regulatory bodies - PCC, Office of Communications, BBC, NUJ – in the UK and beyond

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Reviews

"Given the endless controversies around privacy, ethics and media regulation this book is a timely, comprehensive and indispensable handbook for journalists and a rallying cry for all those who believe ethical journalism is not just possible but an essential part of a free media in a democratic society.

Using real life examples Chris Frost's book is both a practical tool which deserves a place on every journalist's desk and an unbeatable guide to the origins, failures and successes of media regulation in the UKand beyond.

Chris Frost stands robustly in favour of a more ethical journalism - his book is a very welcome contribution to the debate about the role of journalists and regulation in achieving that".

- Jeremy Dear, General Secretary of the National Unionof Journalists (NUJ)

Global Journalism

Global Journalism
Topical Issues and Media Systems
5th Edition
Arnold de Beer, John Merrill
May 2009, Paperback, 504 pages
ISBN13: 9780205608119
ISBN10: 0205608116
Description

Thoroughly reviewed, with new chapters and several new authors, Global Journalism addresses the most pertinent issues and problems in today's global journalism. This new edition recognizes the vast and rapid changes taking place in global journalism across media systems on all continents. Its three interlinking parts offer an overview of the present state of media and journalism theory; a critical analysis of the main issues confronting global journalists, media organizations, audiences, and others in the media world; and a focus on the media of the world’s eight major journalism and media regions.

Global Journalism has established itself over a quarter of a century as a trusted authority on international media. The new edition carries that reputation further into the 21st Century for a new generation of journalism and media scholars, students, and media professionals.

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Contents

Preface. John C Merrill.

I. GLOBAL PERSPECTIVE ON MEDIA ISSUES.

Part I: Global Perspectives on Media and Journalism Issues

1. Global Press Philosophies. John C. Merrill.

2. Critical and non-Western Press Philosophies. Herman Wasserman, .

Part II Barriers and Callenges to Global Journalism

3. Global and National News Agencies. Terhi Rantanen and Oliver Boyd-Barrett.

4. Barriers to Media Development. Paul Parsons, Rich Landesberg and Glenn Scott.

5. Freedom of the Press Around The World. Lee B. Becker and Tudor Vlad.

6. International Journalism Ethics. Herman Wasserman.

7. Global Advertising and Public Relations. Doug Newsom.

8. Continuing Media Controversies. Paul Grosswiler.

9. Global Journalism Education. Mark Deuze.

10. Journalists: International Profiles. Beate Josephi.

11. Journalists Reporting From Foreign Places. P. Eric Louw.

12. Global News Arnold S. de Beer.

III. THE WORLD'S REGIONS.

13. Western Europe. Byron T. Scott.

14. Eastern Europe, the Newly Independent States of Eurasia, and Russia. Allen W. Palmer.

15. The Middle East and North Africa. Orayb A. Najjar.

16. Sub-Saharan Africa (East, West and South). Minabere Ibelema and Tanja Bosch

17. Asiaand the Pacific. Jiafei Yin.

18. Australasia. Stephen Quinn and John Tidey.

19. Latin America. Federico Subervi.

20. North America. William Briggs.

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Features

* Covers both the major philosophical, problematic and controversial issues of global journalism, as well as informed discussions on how it is practiced today around the world.

* Features the work of 25 national and internationally published authors, including some of the world’s foremost scholars in specialized areas of research.

* Prof John C. Merrill, the well-known internationally acclaimed pioneer of global journalism and media studies, has now turned the editorship of Global Journalism over to Arnold S. de Beer, who co-authored the 4th edition with Merrill.

Broadcast Journalism

Broadcast Journalism
A Guide for the Presentation of Radio and Television News
2nd Edition
David Keith Cohler
Jan 1994, Paperback, 315 pages




A Comprehensive introduction to the various aspects of electronic newsgathering (broadcast journalism). Covers radio and TV, writing, reporting and producing. Extensively revised.

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Contents

I. NEWSWRITING.

1. Introduction to Broadcast Style.
2. Training, Reference Materials, and Copy Appearance.
3. Story Structure, Leads, Language.
4. WhoÓ and What.Ó
5. WhenÓ and Where.Ó
6. Libel, Attribution, Quotation, and Ethics.
7. Special Segments.
II. RADIO NEWS.

8. Is Anyone Listening?
9. Sources of Radio News.
10. Audiotape I: Actualities (Sound Bites).
11. Audiotape II: Reports.
12. Audiotape III: Interviewing, Editing, Field Reporting.
13. Radio Newscasting.
III. TELEVISION NEWS.

14. Is a Picture Worth a Thousand Words?
15. Picture and Script Components.
16. Videotape I: Components, Sources, and Editing.
17. Videotape II: Scripting.
18. Reporting I: The Assignment.
19. Reporting II: Shooting the Story.
20. Reporting III: Basic Story Coverage.
21. Performing.
Index.

Buy at : Pearson Book

Journalism

Journalism
Who, What, When, Where, Why, And How
James Stovall
Dec 2004, Paperback, 528 pages
ISBN13: 9780205372041
ISBN10: 020537204X

Description

Journalism: Who, What, When, Where, Why and How is a comprehensive introduction to the field, covering how news is produced and delivered, how news organizations work, and how audiences react to and interact with the news media. For students preparing for a career in journalism, the text describes the range of job possibilities in the field and offers practical, basic instruction in the fundamental practices of journalism: reporting, writing, editing and presentation. Journalism helps students understand this exciting and important field and become more critical consumers of mass media. It also provides an overview of the rich history of journalism in America.


Contents
Each chapter begins with “SIDEBAR: Key Concepts and Terms,” and concludes with “Questions for Discussion,” “Related Websites,” and “Reading and Reference.”

Preface.

I. WHAT.

1. News and Society.
News Values.Why News Matters.SIDEBAR: Everybody Talks About the Weather.News and the Social Order.SIDEBAR: Theodore Roosevelt and the Bully Pulpit.WHAT DO YOU THINK? The Journalist's Dilemma.Pressures on Journalists.SIDEBAR: A Passport, a Keyboard and a Paycheck.The Job of the Journalist.2. Culture of Journalism.
The World of the Journalist.Character and Characteristics.Skepticism and Cynicism.Working Within the News Organization.Dealing with Sources.Objectivity and Fairness.SIDEBAR: Liberal or Conservative Media? (Part 1).Unacceptable Practices.SIDEBAR: Liberal or Conservative Media? (Part 2).News Organizations in the Larger Culture of Journalism.SIDEBAR: Civic Journalism.A Dynamic Culture.3. Becoming a Journalist.
Prepare.Learn About the Field.Getting Trained.SIDEBAR: Getting Help.Go to Work.SIDEBAR: Joining Up.Get Started.
II. WHERE.

4. Newspapers.
Initiators of Journalism.Organizational Structure: the Business Side.Organization Structure: the Editorial Side.SIDEBAR: The Black Press: An Alternative Voice in American Journalism.The Editorial Page.Newspapers Today.SIDEBAR: Small Newspaper, Big-time Journalism.Major Players in the Newspaper Industry.The Future of Newspapers.5. Magazines.
SIDEBAR: On the Cover of Rolling Stone.Why Magazine Journalism?Structure of the Magazine Industry.SIDEBAR: Slate.com: Overcoming the E-zine Doubters.Creating a Magazine.Staff Structure and Employment.SIDEBAR: A Month in the Life of the Art Director.Magazine Journalism.Freelance Writing.The Future of Magazines.6. Television and Radio.
Impact and Immediacy.Radio: News at a Different Level.Local Television.SIDEBAR: Public Broadcasting.Television News.SIDEBAR: The JFK Assassination: Television's First Big Story.Regulation of Broadcasting.The Future of Broadcasting.7. News Web Sites.
The Difference of the Web.SIDEBAR: Getting the News—September 11, 2001.The News Web Site.Owned and Operated.Independently Owned.SIDEBAR: Questions of Credibility Plague the Web.News Sites that Didn't Mean to Be.Web Logs: a New Form of Journalism?Whither Web Sites?
III. WHO AND HOW.

8. Reporters.
What Reporters Do.Personal Characteristics.SIDEBAR: Profile of the American Journalist.Becoming a Professional.SIDEBAR: The Most Gratifying Moment.Getting there: Becoming a Reporter.9. Reporting.
Five W's and One H.Types of Sources.SIDEBAR: Tips on Covering a Beat.Interviewing.SIDEBAR: A Dozen Interviewing Tips.A Note on Accuracy.10. Writing News and Features.
Basic Writing Characteristics.SIDEBAR: Writing Values and Advice.Writing Conventions.Attribution.Other Writing Conventions.The Inverted Pyramid.The Lead Paragraph.SIDEBAR: Inverted Pyramid Checklist.Developing the Story.Feature Styles.Characteristics of Feature Writing.Read, Analyze, Emulate.11. Style.
Wire Service Stylebooks.SIDEBAR: Trademarks.Journalistic Conventions.SIDEBAR: Basic AP Style Rules.Language Sensitivity.12. Editors.
The Most Important Job.Who is the Editor?WHAT DO YOU THINK? Giving up Editorial Control.Traits of an Editor.The Editor-Writer Relationship.SIDEBAR: Editors, Watch Out for Those Writers.What the Editor Must Do.Getting to be an Editor.13. Editing and Headline Writing.
Accuracy.Checking Facts.SIDEBAR: A Day in the Life of a Copyeditor.Brevity.Clarity.Editing Procedure.Principles of Headline Writing.Guidelines.Procedure.Headlines on the Web.14. Visual Journalists.
Words and Pictures.Photojournalism—Journalism, Only Different.Life and Times of the Photojournalist.The Digital Revolution.Designers.Graphics Journalists.The Importance of the Visual.15. Graphics Journalism.
Principles of Design.Conventions of Graphics.The Good Graphic.Types of Graphics.Developing Infographics.16. Photojournalism.
Basics of Photojournalism.Photographer's Commitment.The Photojournalist in Action.Newsworthy Photos.Photo Editing.Cropping.Scaling.Digital Photography.SIDEBAR: The Associated Press Policy on Handling Photographs.Ethics and Taste.Cutlines.17. Publication Design.
Design.Visual Logic.Type.Type on the Page.Illustration.White Space.Newspaper Design.Types of Newspaper Design.Principles of Layout.News Judgment.SIDEBAR: Steps in Laying Out a Page.Laying Out a Page.Twelve Rules.Web Site Design.18. Broadcasters.
Broadcast Journalists.The World of Broadcasting.Selection of News.News Department Organization.How Reporters Work.SIDEBAR: Make the News Relevant for People's Lives.Broadcast News Formats.Salaries in Broadcast Journalism.Getting into Broadcast Journalism.19. Writing for Broadcast.
Characteristics of Writing.Story Structure.SIDEBAR: Lose the Accent.Broadcast Writing Style.Broadcast Copy Preparation.SIDEBAR: The Hissing Sibilant.Putting Together a Newscast.Conclusion.
IV. WHEN.

20. Beginnings of Journalism.
Where Does Journalism Begin?The Printing Press.Dangerous Information.The New World.Benjamin Franklin.SIDEBAR: Women in 18th Century Journalism.The Fire of Revolution.SIDEBAR: James Rivington and the Tory Press.Partisanship.21. Journalism Comes of Age.
Change and More Change.The Penny Press.James Gordon Bennett and the New York Herald.SIDEBAR Samuel F.B. Morse: What Hath God Wrought!Sectionalism, Slavery and Abolition.The Growth of Magazines.SIDEBAR: Picturing the Rich and the Famous.The Civil War.The End of the War and its Aftermath.22. New Realities, New Journalism.
A Profession Matures.A Generation of Growth.An Age of Personalities.SIDEBAR: Yes, Virginia, There is a Santa Claus.Advancing Technology.SIDEBAR: Yellow Journalism.Reporters and Reporting.SIDEBAR: “Stunt” Journalism Nellie BlyChange in Advertising.The Watchdog Press.23. 20th Century and Beyond.
A Century of Technology.The Decline of Newspapers.The Development of Radio.Time and Development of the News Magazine.SIDEBAR: Henry Luce and the March of Time.Television.SIDEBAR: Watergate: A 'Third-Rate Burglary' and a Pulitzer for Two Young Reporters.Newspapers: Clouded Stability and Prosperity.Expanding Television with Cable.The Development of the Web.
V. WHY.

24. Law and the Journalist.
Corruption in Minneapolis.Legal Precedents.SIDEBAR: The State of the First Amendment.The First Amendment.Defamation.Defenses Against Libel Suits.SIDEBAR: Developing the Concept of the Public Figure.Copyright and Trademarks.Privacy.WHAT DO YOU THINK? What Would You Do?Legal Protections for Journalists.Free Press-Fair Trial.Constant Vigilance.25. Ethical Practices.
The Good Journalist.An Approach to Ethical Behavior.SIDEBAR: Loyalty to What?Ethical Difficulties.Persistent Problems.26. Present and Future.
An Open Profession.Financial State of the Profession.Areas of Concern, Optimism.Changing Technology, Changing Audience.Appendix A: Grammar and Style Diagnostic Test.
Index.
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Features

Features up-to-date examples and discussion of current issues and controversies, allowing students to understand the principles of journalism in the context of issues that are familiar to them.
Focuses on the importance and challenge of maintaining accuracy and honesty in the media, encouraging students to think about ethics and values.
Includes both practical and conceptual approaches to the study of journalism, giving students a full picture of the field.
Covers history in four lively chapters that tie journalism to larger societal trends, helping students engage in the material rather than be put off by it.
Contains a chapter on writing based on the author's widely-used text Writing for the Mass Media (Allyn & Bacon, 2002), giving students practical instruction in writing and opportunities to practice what they are learning.

Source: Pearson Books

Handbook of Broadcast Journalism

The Broadcast Journalism Handbook
Gary Hudson, Sarah Rowlands
Jun 2007, Paperback, 592 pages


This exciting text presents all the key practical skills required by today’s broadcast journalist. Highly illustrated with examples from modern day newsrooms, the authors explain in detail the key techniques and theoretical context the broadcast journalist will need to know in order to succeed.

The Broadcast Journalism Handbook is the first text of its kind to be produced in full colour, and as such brings a unique energy and life to the book, seamlessly mirroring the industry that it is exploring.

Another revolutionary resource in this field is the FREE DVD that accompanies each copy of the book. It will prove to be an invaluable support throughout the reader’s studies. This fantastic DVD contains numerous examples of various editing ideas and an array of complete demonstrations of filming techniques – practical tools that will actually help you in the real-world of broadcast journalism!

This is the ‘must have’ book anyone studying college, university and independent training courses in broadcast journalism at all levels; and for professionals and trainees in broadcast, print and other media looking to develop their skills. It is also ideal for those viewing broadcast journalism in the wider context of media studies.

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Contents

Preface

Foreword

Acknowledgements

Publisher Acknowledgements

Guided Tour

Part One: The Job

Chapter One Introduction

Chapter Two What’s the story?

Chapter Three Finding the news

Chapter Four The interview

Chapter Five News writing

Chapter Six Location reporting and production

Chapter Seven Location video and sound

Chapter Eight Sports reporting and commentary

Chapter Nine Foreign reporting

Chapter Ten Going live

Chapter Eleven The package

Chapter Twelve Editing

Chapter Thirteen Graphics

Chapter Fourteen Presentation

Chapter Fifteen The programme

Part Two: Newsdays

Sky News

Five Live

ITN

BBC Ten O’Clock News

Century FM

News 24

Staffordshire Local News

Radio 1 Newsbeat

Part Three: The Essential Guide

Getting a job

The law and broadcast journalists

Part Four: Workshops and Exercises


Glossary

Index

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Features

Includes comprehensive coverage of key skills including interviewing, news gathering, reporting, editing and presentation
'Essential guide' section provides advice on how to get a job, a guide to the law, and a useful glossary of broadcasting terms
Covers cutting-edge technology essential for the budding journalist to know - including mobile video production, graphics and digital journalism
DVD included, demonstrating filming techniques and editing ideas
Companion website (www.pearsoned.co.uk/hudson) including updates on new developments, podcasts and further support materials
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Reviews

‘THE must-have basic text for generations of up-and-coming broadcast journalists. Sarah Rowlands and Gary Hudson have tied it much more tightly to the actual delivery of training as well as getting very close to real life in radio and TV newsrooms. And, crucially, it places everything in the context of the continuing internet revolution taking place in our industry.

It’s bang up-to-date but tackles the problem of keeping up-to-date, when so much is changing, so fast, by also offering a companion website, updating developments as they happen. The “Newsdays” section, analysing the way that different radio and TV outlets produce their bulletins, is fascinating. And finally, the accompanying (free) DVD demonstrating filming and editing techniques is a brilliant idea.’

Jim Latham – Secretary BJTC (Broadcast Journalism Training Council)


'...invaluable in university journalism departments, on professional training courses, and in the broadcast newsroom itself. I would certainly adopt this for my students.' - Mike Henfield, University of Salford

‘It is very well written and comprehensive too. I especially like the examples, which are recent and all highly relevant.’ - Roy Saatchi, of Roy Saatchi Associates

‘I think this book is new, up to date, of the moment and I would recommend it to our students … very clear, easy to follow and interesting to read’ - Jennifer Brown, University of Leeds

‘The writing style was engaging and quite entertaining’- Carole Fleming, NTU

Buy at Pearson Books

Handbook of Journalism

Sebuah buku mengenai bagaimana dunia Jurnalistik dan bagaimana karir di dunia yang sangat menantang ini, dapat Anda baca dalam buku Handbook of Journalism.

Untuk ke depan akan dituangkan semacam cuplikan dari buku penting mengenai jurnalistik ini.

Silahkan baca lebih detil Handbook of Journalism.

Download Buku-buku Jurnalistik

Bagi Anda yang berminat memasuki dunia jurnalistik simak terus berbagai koleksi buku dan textbook untuk kuliah atau studi Anda dalam beberapa hari ke depan.

Jika Anda sudah berkecimpung di dunia jurnalistik, simak terus karena skills Anda harus terus diupgrade dengan berbagai koleksi buku penting baik dalam bahasa Indonesia atau Inggri.

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Lowongan Kameraman SCTV

Lowongan di SCTV


Job title: Entry Level
Job function: Broadcaster, TV/Radio
Job position: Cameraman
Work location: Surabaya
Level of education: Bachelor's Degree
Major: Any
Work experience: At least 1 year
Gender: Male
Age: Between 23 and 28 years-old
Offering salary: Not specified
Requirements: - Bisa mengoperasikan Kamera
- Bisa Editing Visual
Job description: - Melakukan Tugas Visual Harian
- Membuat Short list visual yang diambil
- Dapat melakukan editing cut to cut/Non Liniear




Closing date: 21 May 2008