Forty years after Tom Wolfe, Hunter S. Thompson, and Gay Talese launched the New Journalism movement, Robert S. Boynton sits down with nineteen practitioners of what he calls the New New Journalism to discuss their methods, writings and careers. The New New Journalists are first and foremost brilliant reporters who immerse themselves completely in their subjects. Jon Krakauer accompanies a mountaineering expedition to Everest. Ted Conover works for nearly a year as a prison guard. Susan Orlean follows orchid fanciers to reveal an obsessive subculture few knew existed. Adrian Nicole LeBlanc spends nearly a decade reporting on a family in the South Bronx. And like their muckraking early twentieth-century precursors, they are drawn to the most pressing issues of the day: Alex Kotlowitz, Leon Dash, and William Finnegan to race and class; Ron Rosenbaum to the problem of evil; Michael Lewis to boom-and-bust economies; Richard Ben Cramer to the nitty gritty of politics. How do they do it? In these interviews, they reveal the techniques and inspirations behind their acclaimed works, from their felt-tip pens, tape recorders, long car rides, and assumed identities; to their intimate understanding of the way a truly great story unfolds. Interviews with: Gay Talese Jane Kramer Calvin Trillin Richard Ben Cramer Ted Conover Alex Kotlowitz Richard Preston William Langewiesche Eric Schlosser Leon Dash William Finnegan Jonathan Harr Jon Krakauer Adrian Nicole LeBlanc Michael Lewis Susan Orlean Ron Rosenbaum Lawrence Weschler Lawrence Wright

This is a 1973 anthology of journalism edited by Tom Wolfe and E. W. Johnson. The book is both a manifesto for a new type of journalism by Wolfe, and a collection of examples of New Journalism by American writers, covering a variety of subjects from the frivolous (baton twirling competitions) to the deadly serious (the Vietnam War). The pieces are notable because they do not conform to the standard dispassionate and even-handed model of journalism. Rather they incorporate literary devices usually only found in fictional works.

Journalists and novelists responded to the pervasive social changes of the 1960s in America with a variety of experiments in nonfiction. Those who have praised the vitality of the new journalism have seen it as a fusion of the journalist's passion for detail and the novelist's moral vision. Hollowell presents a critically sharp portrait of what the new journalists and novelists are doing and why. The author concludes that future writing will further obscure the difference between fact and fiction. Originally published in 1977. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

. . . In Cold Blood, The Electric Kool-Aid Acid Test, Fear and Loathing in Las Vegas, Slouching Towards Bethlehem, The Armies of the Night . . . Starting in 1965 and spanning a ten-year period, a group of writers including Tom Wolfe, Jimmy Breslin, Gay Talese, Hunter S. Thompson, Joan Didion, John Sack, and Michael Herr emerged and joined a few of their pioneering elders, including Truman Capote and Norman Mailer, to remake American letters. The perfect chroniclers of an age of frenzied cultural change, they were blessed with the insight that traditional tools of reporting would prove inadequate to tell the story of a nation manically hopscotching from hope to doom and back again—from war to rock, assassination to drugs, hippies to Yippies, Kennedy to the dark lord Nixon. Traditional just-the-facts reporting simply couldn’t provide a neat and symmetrical order to this chaos. Marc Weingarten has interviewed many of the major players to provide a startling behind-the-scenes account of the rise and fall of the most revolutionary literary outpouring of the postwar era, set against the backdrop of some of the most turbulent—and significant—years in contemporary American life. These are the stories behind those stories, from Tom Wolfe’s white-suited adventures in the counterculture to Hunter S. Thompson’s drug-addled invention of gonzo to Michael Herr’s redefinition of war reporting in the hell of Vietnam. Weingarten also tells the deeper backstory, recounting the rich and surprising history of the editors and the magazines who made the movement possible, notably the three greatest editors of the era—Harold Hayes at Esquire, Clay Felker at New York, and Jann Wenner at Rolling Stone. And finally Weingarten takes us through the demise of the New Journalists, a tragedy of hubris, miscalculation, and corporate menacing. This is the story of perhaps the last great good time in American journalism, a time when writers didn’t just cover stories but immersed themselves in them, and when journalism didn’t just report America but reshaped it. “Within a seven-year period, a group of writers emerged, seemingly out of nowhere—Tom Wolfe, Jimmy Breslin, Gay Talese, Hunter S. Thompson, Joan Didion, John Sack, Michael Herr—to impose some order on all of this American mayhem, each in his or her own distinctive manner (a few old hands, like Truman Capote and Norman Mailer, chipped in, as well). They came to tell us stories about ourselves in ways that we couldn’t, stories about the way life was being lived in the sixties and seventies and what it all meant to us. The stakes were high; deep fissures were rending the social fabric, the world was out of order. So they became our master explainers, our town criers, even our moral conscience—the New Journalists.” —from the Introduction

Ubiquitous news, global information access, instantaneous reporting, interactivity, multimedia content, extreme customization: Journalism is undergoing the most fundamental transformation since the rise of the penny press in the nineteenth century. Here is a report from the front lines on the impact and implications for journalists and the public alike. John Pavlik, executive director of the Center for New Media at Columbia University's Graduate School of Journalism, argues that the new media can revitalize news gathering and reengage an increasingly distrustful and alienated citizenry. The book is a valuable reference on everything from organizing a new age newsroom to job hunting in the new media.

The news media is in the middle of a revolution. Old certainties have been shoved aside by new entities such as WikiLeaks and Gawker, Politico and the Huffington Post. But where, in all this digital innovation, is the future of great journalism? Is there a difference between an opinion column and a blog, a reporter and a social networker? Who curates the news, or should it be streamed unimpeded by editorial influence? Expanding on Andrew Rossi's "riveting" film (Slate), David Folkenflik has convened some of the smartest media savants to talk about the present and the future of news. Behind all the debate is the presence of the New York Times, and the inside story of its attempt to navigate the new world, embracing the immediacy of the web without straying from a commitment to accurate reporting and analysis that provides the paper with its own definition of what it is there to showcase: all the news that's fit to print.

Will the use of artificial intelligence (AI), algorithms, and smart machines be the end of journalism as we know it—or its savior? In Newsmakers, Francesco Marconi, who has led the development of the Associated Press and Wall Street Journal’s use of AI in journalism, offers a new perspective on the potential of these technologies. He explains how reporters, editors, and newsrooms of all sizes can take advantage of the possibilities they provide to develop new ways of telling stories and connecting with readers. Marconi analyzes the challenges and opportunities of AI through case studies ranging from financial publications using algorithms to write earnings reports to investigative reporters analyzing large data sets to outlets determining the distribution of news on social media. Newsmakers contends that AI can augment—not automate—the industry, allowing journalists to break more news more quickly while simultaneously freeing up their time for deeper analysis. Marshaling insights drawn from firsthand experience, Marconi maps a media landscape transformed by artificial intelligence for the better. In addition to considering the benefits of these new technologies, Marconi stresses the continuing need for editorial and institutional oversight. Newsmakers outlines the important questions that journalists and media organizations should consider when integrating AI and algorithms into their workflow. For journalism students as well as seasoned media professionals, Marconi’s insights provide much-needed clarity and a practical roadmap for how AI can best serve journalism.

An examination of how the media is under fire and how to safeguard journalists and the information they seek to share with the public. Journalists are being imprisoned and killed in record numbers. Online surveillance is annihilating privacy, and the Internet can be brought under government control at any time. Joel Simon, the executive director of the Committee to Protect Journalists, warns that we can no longer assume that our global information ecosystem is stable, protected, and robust. Journalists are increasingly vulnerable to attack by authoritarian governments, militants, criminals, and terrorists, who all seek to use technology, political pressure, and violence to set the global information agenda. Reporting from Pakistan, Russia, Turkey, Egypt, and Mexico, among other hotspots, Simon finds journalists under threat from all sides. The result is a growing crisis in information—a shortage of the news we need to make sense of our globalized world and fight human rights abuses, manage conflict, and promote accountability. Drawing on his experience defending journalists on the front lines, he calls on “global citizens,” U.S. policy makers, international law advocates, and human rights groups to create a global freedom-of-expression agenda tied to trade, climate, and other major negotiations. He proposes ten key priorities, including combating the murder of journalists, ending censorship, and developing a global free-expression charter to challenge the criminal and corrupt forces that seek to manipulate the world's news. “Wise and insightful. [Simon] offers hope to all who care about maintaining the free flow of information in a world full of would-be censors.”—Ann Cooper, Columbia Journalism School

At Dupont University, an innocent college freshman named Charlotte Simmons learns that her intellect alone will not help her survive.

How can we make sense of the ongoing technological changes affecting journalism and journalists today? Will the new digital generation break down barriers for journalism, or will things just stay the same? These and other pertinent questions will be asked and explored throughout this exciting new book that looks at the changing dynamics of journalism in a digital era. Examining issues and debates through cultural, social, political and economic frameworks, the book gets to grip with today′s new journalism by understanding its historical threats and remembering its continuing resilience and ability to change with the times. In considering new forms of journalistic practice the book covers important topics such as: • truth in the new journalism • the changing identity of the journalist • the economic implications for the industry • the impact on the relationship between the journalist and their audience • the legal framework of doing journalism online. Vibrant in style and accessible to all, Digital Journalism is a captivating read for anyone looking to understand the advent of a new journalism that has been altered by the latest digital technologies.