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Artículos de revistas sobre el tema "Journalism – united states – style manuals"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Serazio, Michael. "How news went guerrilla marketing: a history, logic, and critique of brand journalism." Media, Culture & Society 43, no. 1 (2020): 117–32. http://dx.doi.org/10.1177/0163443720939489.

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For decades, product placement and branded content have invaded more entertainment-oriented media forms; today, the rise of brand journalism (i.e. native advertising and content marketing) suggests that advertisers are now targeting news as a genre for commercial schemes. This article examines that practice through a critical analysis of advertising industry discourse including 28 in-depth interviews with brand journalism practitioners in the United States along with a decade of trade press coverage. It sketches the first historical trajectory of brand journalism and contextualizes the media i

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Torres, Edgar Cota. "Un pícaro moderno y fronterizo en La Travesía de Enrique de Sonia Nazario." Diálogos Latinoamericanos 15, no. 23 (2014): 20. http://dx.doi.org/10.7146/dl.v15i23.113119.

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Spanish picaresque literature has an extensive literary tradition dating back to the SpanishGolden Age. While its development is associated primarily with Spain, its influence wasfelt in many Latin American countries, including in many texts in the past as well as in ourdays. The purpose of this essay is to show how Enrique´s Journey by Sonia Nazario retainsmany similar characteristics of the Spanish picaresque novel, while also distancing itselffrom this style through the use of testimonial discourse. The writer has used manytechniques from new journalism in order to paint a realistic picture

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Kim, Seulki. "Korean media under the American military administration (1945-1948)." RUDN Journal of Studies in Literature and Journalism 27, no. 3 (2022): 551–56. http://dx.doi.org/10.22363/2312-9220-2022-27-3-551-556.

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Probably, the beginning of the pro-American trend in the development of Korean media was the editorial policy of the Korean media in the middle of the 20th century. This assumption is tested with the help of historical and typological analysis of the Korean mass media during the period of the American military administration in 1945-1948. In in the context of the media, a characteristic of the political situation of that period is given. A comparative descriptive method and a classification method were applied. Previously unpublished information about the structure, language, and style, circul

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4

SHUMILINA, INNA V. "Features of Screen Construction of the Image of the President of the United States: Hollywood—Media—Politics." Art and Science of Television 18, no. 1 (2022): 113–58. http://dx.doi.org/10.30628/1994-9529-2022-18.1-113-158.

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Analysis of the text and the context of screen production is a necessary link for comprehending social processes. Capturing time through the screen and film images allows us to form an idea of the actual cultural, aesthetic, ideological (value) specificity of society. Whether cinema is a reflection of the truth of life, or a form of secondary communication, or a means of formation of viewers’ worldview positions, are the questions, the relevance of which has increased significantly against the geopolitical background of the first quarter of the 21st century. This article is an attempt to analy

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5

Williams Fayne, Miya, and Allissa V. Richardson. "Reporting on Black Lives Matter in 2020: How Digital Black Press Outlets Covered the Racial Uprisings." International Journal of Press/Politics, July 29, 2023. http://dx.doi.org/10.1177/19401612231187562.

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George Floyd’s fatal police encounter sparked the largest social justice movement in American history. Black press journalists in the United States found themselves documenting and coping with Black trauma as they performed their duties in pandemic-mandated isolation. Through semi-structured interviews with digital Black press journalists, this study, which was conducted between 2020 and 2021, explores the reporting and personal strategies these journalists deployed during tumultuous times. We found they (1) provided humanizing and ongoing social justice coverage; (2) relied on Black experts,

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"Foreign Propaganda in the Electronic Press about the Syrian Crisis A Comparative Study of the Sites of Russia Today and Alhurra - A research drawn from a Master Degree thesis." AL – Bahith AL – A a‚LAMI 11, no. 44 (2019): 267–300. http://dx.doi.org/10.33282/abaa.v11i44.284.

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The research problem lies in the ambiguity of the usage of propaganda contents by two main media outlets (the Russian RT and American Alhurra) in their news coverage of the Syrian crisis through their websites and the methods used by them to convince users taking into account the mutual propaganda conflict between the United States and Russia in the war against Syria. The objectives of the research can be represented by the following: investigating the contents of American and Russian electronic propaganda towards Syrian crisis. • Identifying the contents that received most of the coverage in

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7

Knorr, Charlotte, Christian Pentzold, and Tabea Hallmann. "Press Sections in Online Newspapers (Formats and Genre)." DOCA - Database of Variables for Content Analysis, June 6, 2024. http://dx.doi.org/10.34778/2zx.

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The following press sections are a collection that emerged from an inductive-deductive analysis of 26 periodicals from Germany, South Africa and the US. Overlaps on big topics were found and sub-topics assigned accordingly (Pentzold & Knorr, 2024). Field of Application/Theoretical Foundation Journalists usually publish their articles in topic-specific sections. The decision on the section, i.e., the journalistic placement within a thematic context, can already be seen as part of framing (preframing) on the part of the publishers, journalists and the recipients (Scheufele, 2004). Example st

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8

Burns, Alex. "The Worldflash of a Coming Future." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2168.

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History is not over and that includes media history. Jay Rosen (Zelizer & Allan 33) The media in their reporting on terrorism tend to be judgmental, inflammatory, and sensationalistic. — Susan D. Moeller (169) In short, we are directed in time, and our relation to the future is different than our relation to the past. All our questions are conditioned by this asymmetry, and all our answers to these questions are equally conditioned by it. Norbert Wiener (44) The Clash of Geopolitical Pundits America’s geo-strategic engagement with the world underwent a dramatic shift in the decade after th

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9

Marshall, P. David. "Fame's Perpetual Moment." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2401.

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There was a moment just after September 11, 2001, that many commentators heralded the end of our celebrity obsessions and the emergence of a new sobriety in politics and culture. We had the mediated version of atonement when the famous presented their most serious sides for television specials in support of the families of the victims of the September 11 attacks. But within a matter of weeks the celebrity industry was back on its old track – salacious rumors about J-Lo and her movement through the entertainment industry A-List, further debates about the propriety of Michael Jackson’s behaviour

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10

Staender, Anna, and Edda Humprecht. "Types (Disinformation)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/4e.

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Disinformation can appear in various forms. Firstly, different formats can be manipulated, such as texts, images, and videos. Secondly, the amount and degree of falseness can vary, from completely fabricated content to decontextualized information to satire that intentionally misleads recipients. Therefore, the forms and format of disinformation might vary and differ not only between the supposedly clear categories of “true” and “false”. Field of application/theoretical foundation: Studies on types of disinformation are conducted in various fields, e.g. political communication, journalism stud

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11

Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2629.

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   Introduction It appears that graffiti has begun to clean up its act. Escalating numbers of mature graffiti writers feel the removal of their graffiti has robbed them of a history, and are turning to legal projects in an effort to restore it. Phibs has declared the graffiti underground “limited” and Kano claims its illegal aspect no longer inspires him (Hamilton, 73). A sign of the times was the exhibition Sake of Name: Australian Graffiti Now which opened at the Wharf 2 Theatre in January 2001. The exhibition was commissioned by the Sydney Theatre Company and comprised twe

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12

Bellamy, Craig. "Post-Logo." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2214.

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Spurred by global institutions and treaties such as the General Agreement on Tariffs and Trade (GATT) and its’ bantling the World Trade Organisation (WTO), the past three decades have seen many nations of the world develop an economic interconnectedness that parallels the great free trade movement of the late Nineteenth and early Twentieth Centuries. Free trade and the resultant economic ‘globalisation’ have had mixed results for many countries and groups within countries and has incited a complex, inarticulate, and sometimes contradictory debate across all segments of our society. Some groups

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13

McNair, Brian. "Vote!" M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2714.

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   The twentieth was, from one perspective, the democratic century — a span of one hundred years which began with no fully functioning democracies in existence anywhere on the planet (if one defines democracy as a political system in which there is both universal suffrage and competitive elections), and ended with 120 countries out of 192 classified by the Freedom House think tank as ‘democratic’. There are of course still many societies where democracy is denied or effectively neutered — the remaining outposts of state socialism, such as China, Cuba, and North Korea; most if

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14

Whalen, Zach. "Ludology." M/C Journal 7, no. 2 (2004). http://dx.doi.org/10.5204/mcj.2344.

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Over the recent holiday season, I more than once found myself in the position of explaining to a relative what it is that I do: “Oh, you study video games? But I thought you were in an English Department . . . I see.” The uncomfortably interdisciplinary field of “Game Studies” has been implicitly dealing with the same question in a quiet disciplinary turf war between scholars who attempt to bring games into existing academic discourse communities and scholars who see games as an entirely unique medium warranting independent academic infrastructures. The study of video games in the Academy is s

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15

Howley, Kevin. "Always Famous." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2452.

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Introduction A snapshot, not unlike countless photographs likely to be found in any number of family albums, shows two figures sitting on a park bench: an elderly and amiable looking man grins beneath the rim of a golf cap; a young boy of twelve smiles wide for the camera — a rather banal scene, captured on film. And yet, this seemingly innocent and unexceptional photograph was the site of a remarkable and wide ranging discourse — encompassing American conservatism, celebrity politics, and the end of the Cold War — as the image circulated around the globe during the weeklong state funeral of R

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16

Allmark, Panizza. "Photography after the Incidents." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2719.

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   This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of t

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17

Gardner, Paula. "The Perpetually Sick Self." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1986.

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Since the mid-eighties, personality and mood have undergone vigorous surveillance and repair across new populations in the United States. While government and the psy-complexes 1 have always had a stake in promoting citizen health, it is unique that, today, State, industry, and non-governmental organisations recruit consumers to act upon their own mental health. And while citizen behaviours in public spaces have long been fodder for diagnosis, the scope of behaviours and the breadth of the surveyed population has expanded significantly over the past twenty years. How has the notion of behaviou

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18

Dutton, Jacqueline. "Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.927.

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Introduction Utopia has always been countercultural, and ever since technological progress has allowed, utopia has been using alternative media to promote and strengthen its underpinning ideals. In this article, I am seeking to clarify the connections between counterculture and alternative media in utopian contexts to demonstrate their reciprocity, then draw together these threads through reference to a well-known figure of the Rainbow Region–Rusty Miller. His trajectory from iconic surfer and Aquarian reporter to mediator for utopian politics and ideals in the Rainbow Region encompasses in a

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19

Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!" M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.26.

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This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates

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20

Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as

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21

Miletic, Sasa. "‘Everyone Has Secrets’: Revealing the Whistleblower in Hollwood Film in the Examples of Snowden and The Fifth Estate." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1668.

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In one of the earliest films about a whistleblower, On the Waterfront (1954), the dock worker Terry Malloy (Marlon Brando), who also works for the union boss and mobster Johnny Friendly (Lee J. Cobb), decides to testify in court against him and uncover corruption and murder. By doing so he will not only suffer retribution from Friendly but also be seen as a “stool pigeon” by his co-workers, friends, and neighbours who will shun him, and he will be “marked” forever by his deed. Nonetheless, he decides to do the right thing. Already it is clear that in most cases the whistleblowers are not simpl

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Dwyer, Tim. "Transformations." M/C Journal 7, no. 2 (2004). http://dx.doi.org/10.5204/mcj.2339.

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The Australian Government has been actively evaluating how best to merge the functions of the Australian Communications Authority (ACA) and the Australian Broadcasting Authority (ABA) for around two years now. Broadly, the reason for this is an attempt to keep pace with the communications media transformations we reduce to the term “convergence.” Mounting pressure for restructuring is emerging as a site of turf contestation: the possibility of a regulatory “one-stop shop” for governments (and some industry players) is an end game of considerable force. But, from a public interest perspective,

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23

Maxwell, Richard, and Toby Miller. "The Real Future of the Media." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.537.

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When George Orwell encountered ideas of a technological utopia sixty-five years ago, he acted the grumpy middle-aged man Reading recently a batch of rather shallowly optimistic “progressive” books, I was struck by the automatic way in which people go on repeating certain phrases which were fashionable before 1914. Two great favourites are “the abolition of distance” and “the disappearance of frontiers”. I do not know how often I have met with the statements that “the aeroplane and the radio have abolished distance” and “all parts of the world are now interdependent” (1944). It is worth revisit

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Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of

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Deer, Patrick, and Toby Miller. "A Day That Will Live In … ?" M/C Journal 5, no. 1 (2002). http://dx.doi.org/10.5204/mcj.1938.

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By the time you read this, it will be wrong. Things seemed to be moving so fast in these first days after airplanes crashed into the World Trade Center, the Pentagon, and the Pennsylvania earth. Each certainty is as carelessly dropped as it was once carelessly assumed. The sounds of lower Manhattan that used to serve as white noise for residentsâ€”sirens, screeches, screamsâ€”are no longer signs without a referent. Instead, they make folks stare and stop, hurry and hustle, wondering whether the noises we know so well are in fact, this time, coefficients of a new reality. At the time of writing

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26

West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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