It is becoming increasingly important for television reporters to be proficient in many, if not all, of the steps in production. The Solo Video Journalist will make handling all these responsibilities seem possible, and do so from the hands-on perspective of a current reporter with years of experience as a multimedia journalist. This book will cover all aspects of multimedia journalism, from planning for a segment, to dressing appropriately for one’s multiple roles, to conducting interviews and editing. The instruction and guidance in this text will help make readers valuable players in their field, and it is filled with real-world examples and advice from current professionals. Whether it be college students learning from the ground up or journalists early in their careers, The Solo Video Journalist ensures they will have all the materials they need to be successful multimedia journalists.

The Solo Video Journalist, now in its second edition, offers a comprehensive overview of the solo video reporting process from start to finish. Drawing from years of professional experience in the field, the author covers all aspects of multimedia journalism, from planning for a segment, to dressing appropriately for multiple roles, to conducting interviews, and editing. The book contains interviews with more than a dozen top storytellers from around the United States and offers practical advice for how to succeed in a growing media field. New to this edition are Career Chronicles – chapters that detail the career paths possible for modern journalists – and a fully updated chapter on the importance of building a digital and social media presence. This book is an excellent resource for students learning skills in broadcast, multimedia, backpack, and television journalism, as well as for early-career professionals looking for a back-pocket resource in solo video journalism.

Videojournalism is a new field that has grown out of traditional print photojournalism, slideshows that combine sound and pictures, public radio, documentary filmmaking and the best of television news features. This amalgam of traditions has emerged to serve the Internet's voracious appetite for video stories.Videojournalism is written for the new generation of "backpack" journalists. The solo videojournalist must find a riveting story; gain access to charismatic characters who can tell their own tales; shoot candid clips; expertly interview the players; record clear, clean sound; write a script with pizzazz; and, finally, edit the material into a piece worthy of five minutes of a viewer's attention. Videojournalism addresses all of these challenges, and more - never losing sight of the main point: telling a great story. This book, based on extensive interviews with professionals in the field, is for anyone learning how to master the art and craft of telling real short-form stories with words, sound and pictures for the Web or television. The opening chapters cover the foundations of multimedia storytelling, and the book progresses to the techniques required to shoot professional video, and record high quality sound and market the resulting product. Videojournalism also has its own website - go to just one URL and find all the stories mentioned in the book. You also will find various "how-to videos on the site. To keep up with the latest changes in the field such as new cameras, new books, new stories or editing software, check the site regularly and "like" www.facebook.com/KobreGuide.

As cash-strapped metropolitan newspapers struggle to maintain their traditional influence and quality reporting, large national and international outlets have pivoted to serving readers who can and will choose to pay for news, skewing coverage toward a wealthy, white, and liberal audience. Amid rampant inequality and distrust, media outlets have become more out of touch with the democracy they purport to serve. How did journalism end up in such a predicament, and what are the prospects for achieving a more equitable future? In News for the Rich, White, and Blue, Nikki Usher recasts the challenges facing journalism in terms of place, power, and inequality. Drawing on more than a decade of field research, she illuminates how journalists decide what becomes news and how news organizations strategize about the future. Usher shows how newsrooms remain places of power, largely white institutions growing more elite as journalists confront a shrinking job market. She details how Google, Facebook, and the digital-advertising ecosystem have wreaked havoc on the economic model for quality journalism, leaving local news to suffer. Usher also highlights how the handful of likely survivors—well-funded media outlets such as the New York Times—increasingly appeal to a global, “placeless” reader. News for the Rich, White, and Blue concludes with a series of provocative recommendations to reimagine journalism to ensure its resiliency and its ability to speak to a diverse set of issues and readers.

This offers a detailed and long-awaited reassessment of one of the most maligned periods in American journalism—the era of the yellow press. The study challenges and dismantles several prominent myths about the genre, finding that the yellow press did not foment—could not have fomented—the Spanish-American War in 1898, contrary to the arguments of many media historians. The study presents extensive evidence showing that the famous exchange of telegrams between the artist Frederic Remington and newspaper publisher William Randolph Hearst—in which Hearst is said to have vowed to furnish the war with Spain—almost certainly never took place. The study also presents the results of a systematic content analysis of seven leading U. S. newspapers at 10 year intervals throughout the 20th century and finds that some distinguishing features of the yellow press live on in American journalism. The yellow press period in American journalism history has produced many powerful and enduring myths-almost none of them true. This study explores these legends, presenting extensive evidence that: • The yellow press did not foment-could not have fomented-the Spanish-American War in 1898, contrary of the arguments of many media historians • The famous exchange of telegrams between the artist Frederic Remington and newspaper publisher William Randolph Hearst-in which Hearst is said to have vowed to furnish the war with Spain-almost certainly never took place • The readership of the yellow press was not confined to immigrants and people having an uncertain command of English, as many media historians maintain The study also presents the results of a detailed content analysis of seven leading U.S. newspapers at 10-year intervals, from 1899 to 1999. The content analysis—which included the Denver Post, Los Angeles Times, New York Times, Raleigh News and Observer, St. Louis Post-Dispatch, San Francisco Examine and Washington Post—reveal that some elements characteristic of yellow journalism have been generally adopted by leading U. S. newspapers. This critical assessment encourages a more precise understanding of the history of yellow journalism, appealing to scholars of American journalism, journalism history, and practicing journalists.

Filled with rousing true adventure stories, this compendium of travel stories written by women who made epic journeys alone covers a hiking trip through the Adirondacks, bodyboarding with dolphins in the Pacific, and other accounts by Laura Waterman, Candace Dempsey, Lucy Jane Bledsoe, and Bridget Quinn. Original.

Take a stroll through the City by the Bay with renowned artist Wendy MacNaughton in this collection of illustrated documentaries. With her beloved city as a backdrop, a sketchbook in hand, and a natural sense of curiosity, MacNaughton spent months getting to know people in their own neighborhoods, drawing them and recording their words. Her street-smart graphic journalism is as diverse and beautiful as San Francisco itself, ranging from the vendors at the farmers' market to people combing the shelves at the public library, from MUNI drivers to the bison of Golden Gate Park, and much more. Meanwhile in San Francisco offers both lifelong residents and those just blowing through with the fog an opportunity to see the city with new eyes.

Many of American journalism’s best-known and most cherished stories are exaggerated, dubious, or apocryphal. They are media-driven myths, and they attribute to the news media and their practitioners far more power and influence than they truly exert. In Getting It Wrong, writer and scholar W. Joseph Campbell confronts and dismantles prominent media-driven myths, describing how they can feed stereotypes, distort understanding about the news media, and deflect blame from policymakers. Campbell debunks the notions that the Washington Post’s Watergate reporting brought down Richard M. Nixon’s corrupt presidency, that Walter Cronkite’s characterization of the Vietnam War in 1968 shifted public opinion against the conflict, and that William Randolph Hearst vowed to “furnish the war” against Spain in 1898. This expanded second edition includes a new preface and new chapters about the first Kennedy-Nixon debate in 1960, the haunting Napalm Girl photograph of the Vietnam War, and bogus quotations driven by the Internet and social media.

The Year that Defined American Journalism explores the succession of remarkable and decisive moments in American journalism during 1897 – a year of significant transition that helped redefine the profession and shape its modern contours. This defining year featured a momentous clash of paradigms pitting the activism of William Randolph Hearst's participatory 'journalism of action' against the detached, fact-based antithesis of activist journalism, as represented by Adolph Ochs of the New York Times, and an eccentric experiment in literary journalism pursued by Lincoln Steffens at the New York Commercial-Advertiser. Resolution of the three-sided clash of paradigms would take years and result ultimately in the ascendancy of the Times' counter-activist model, which remains the defining standard for mainstream American journalism. The Year That Defined American Journalism introduces the year-study methodology to mass communications research and enriches our understanding of a pivotal moment in media history.

The veteran journalist and author of In the Hot Zone and The Things They Cannot Say explores the impact of more than a decade of war on Afghanistan, from the American invasion after 9/11 to today, and offers insights into its future and the possible consequences for the U.S. Kevin Sites made his first trip to Afghanistan in October 2001, staying 100 days to cover the U.S. invasion for NBC News. On his fifth trip to the country in June 2013, Sites retraced that first odyssey, contemplating the significant events of his original trip to explore what, if anything, has changed. He interviewed warlords, ex-Taliban fighters, politicians, women cops and dentists, farmers, drug addicts, international aid workers, diplomats, and military personnel. In Swimming with Warlords, Sites examines Afghanistan today through the prism of those two parallel journeys, exploring that nation’s past and considering its future in light of the drawdown of U.S. troops. As he tells the stories of the people he met—how they have been affected by this conflict that has cost billions of dollars and thousands of lives—Sites provides a fresh perspective on Afghanistan and America’s role there. Swimming with Warlords contains 30 black-and-white photos throughout.