Television news: the heart and how-to of video storytelling
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York ; London
Routledge
2019
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| Ausgabe: | 4th edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XVII, 470 Seiten Illustrationen |
| ISBN: | 9781138545687 9781138545670 |
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Datensatz im Suchindex
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| adam_text | Contents PARTI Video Story Fundamentals 1 1 What Is News? 3 Why Is News Important? What Is Fake News? 4 5 What Is the Role of Social Media in News? 6 What Are the Facts? What Is Bias? 7 8 Is There Media Bias? 10 Liberal or Conservative Bias in News 11 How Do You Identify Media Bias? 11 What Are Other Sources of Information? What Are the Tabloids? How Do We Achieve Fairness and Objectivity? 12 12 13 Fairness IS Objectivity 15 Accuracy 16 How Do You Choose a Sound Bite? What Are Characteristics of News? Conflict 18 Uniqueness 19 Why Is There So Much Crime in the News? 20 Prominence 20 Impact 21 17 18
VI CONTENTS Relevance 22 Location 22 Localizing a Story 23 Human Interest and Emotional Impact 24 What Are Characteristics of Good Reporters? 25 Ethics 26 Other Characteristics 26 Conclusion Activities Works Cited 29 30 31 2 Social Media and News 33 BY DENAE D’ARCY, PH.D. What Is Social Media? Major Social Media Sites Establishing a Social Media Identity Social Media and the Newsroom The Challenge of Social Media Use News Is News—Even on Social Media Making the Most Out of Specific Social Media Sites Social Media Leads to Competition Among Journalists Social Media and Connecting With the Audience 33 35 40 41 43 45 46 47 48 Work-Related Social Media Accounts 48 Trying Not to Offend 49 Personal Social Media Sites 53 Maintaining Professionalism on Social Media Sites 53 Conclusion Classroom Activity Works Cited 3 Storytelling and Writing for Video Telling a Story Preparing to Write 54 55 56 57 57 58 Review the “Five Ws” 59 Identify the Characters 60 Determine an Angle 61 Personalize the story 62 The Diamond Effect 64 Keep It Simple 65 Writing the Story The Lead 66 66
CONTENTS VII The Hard Lead 66 The Soft Lead 67 The Throwaway Lead 67 The Umbrella Lead 68 The Question Lead 68 The Suspense Lead 69 Choosing the Story’s Order 69 Chronological Order 70 The Main Point 70 Present, Past, Future 71 Choosing the Format 72 Including the Sound Bite 77 The “How Do You Feel?” Question 78 Writing to the Sound Bite 79 Lead-In to Sound Bites 80 Inform With Lead-Ins to Sound Bites 81 Ending the Story 82 Avoid Grand Conclusions 82 Conclusion Activities 4 Writing in Broadcast Style Using Verbs Correctly 84 85 91 92 Avoid the “Verb-Free Zone” 92 Choose the Correct Verb Tense 93 Present Tense 93 Past Tense 95 Present Perfect 96 Avoid Distortion of Verb Tense 97 Use Active Voice 99 Putting the Words Together 101 Choose Words Accurately 101 Attribution: Where the Information Comes From 102 Include Necessary Name and Identity 102 Avoid Unnecessary Names 103 Place Titles Before Names 103 Delay the Name 104 Avoid Using Ages 105 Use Pronunciation Guides 105 Write for Breathing 106 Special Style Requirements 108
VIII CONTENTS Numbers 108 Ordinals 109 Symbols 109 Scores, Times, Dates 109 Abbreviations and Acronyms 110 Common Usage Mistakes Additional Tips Conclusion Activities The Basics of Shooting Video Defining Photojournalism The Language of Video Video From Cell Phones 124 The First Steps in Learning to Shoot Good Video 125 Framing Skills Hold the Camera Still 129 Use a Tripod 129 When a Tripod Can t be Used 130 Fill the Screen 130 Think in Thirds 131 The Z-Principle 132 The Ten-Second Rule 134 Shooting Video in the Field Get Plenty of Shots 134 Shoot Wide, Medium, and Tight 135 Take Angled Shots 136 Consider Pans and Zooms 138 Avoiding Pans and Zooms 138 Motivated Pans and Zooms 138 Flow to Pan and Zoom 139 Shooting Interviews Leave Head Room 140 Leave Lead Room 142 Include Action in the Interview 144 Conceiving and Shooting the Stand-Up Reasons for Stand-Ups 147 To Show You Were There 148 To Reveal Something 148 To Show Participation 149 To Provide Transition 149 111 113 115 115 119 120 121 128 134 140 146
CONTENTS No Appropriate Video 150 The Video Journalist/Backpack Journalist, MMJ, and the Stand-Up 150 Lighting Camera Settings 151 Lighting Scenarios 152 Flat Lighting 152 Three-Point Lighting 154 Shooting Outdoors 158 Reflectors 158 Backlighting 158 Shooting at Night 161 Capturing Good Audio Conclusion Activities 6 Shooting Video II: Beyond the Basics Cutaways and Jump Cuts Interview Cutaways 169 Reporter Reaction Cutaways 170 Cutaway Questions 171 Sequence Jump Cuts 172 Transition Shots 174 The Shooting Axis Neutralizing Shots 178 Sequences Wide, Medium, and Tight Sequences 179 Sequence Editing for a Surprise 180 Match the Action 181 A Series of Related Shots 181 Completion 182 Action/Reaction 182 Reversed Point of View 184 Action Sequences 185 Using Artistic Principles Leading Lines 189 Movement 194 Color 194 Light and Dark 195 Balance and Symmetry 195 Foreground 197 Background 198 IX 151 162 165 167 169 169 177 179 189
x CONTENTS Shooting Tips for Natural Sound Packages Succeeding as a Photojournalist Practice Assertiveness 200 Understand the Story 201 Broaden Your Skills 202 Avoid Complacency 202 Communicate 202 Conclusion Activities 7 Video Editing The Editing Process Elements of Editing Pacing 206 Repetition 208 Timing and Punctuation 209 Surprise 209 Characters 210 Nonlinear Editing The Video Track 211 Establishing Shots 213 Illustrating the Narration 213 Stories Within the Story 215 Using Cutaways 216 Cutaways in Interviews 217 Cutaways for Sequence Jump Cuts 218 Editing Sequences 218 Creative Sequences 219 Continuity 220 Completion 220 Action/Reaction 221 Reversals 221 Action Sequences 221 The Audio Track Basic Process of Editing a Video Package 224 Adding Natural Sound 225 Nat Sound Breaks 227 Overlapping Audio and Video Using Graphics The Editor’s Responsibilities Ensuring Truth and Accuracy 232 199 200 203 203 205 205 206 210 223 228 230 231
CONTENTS Adhering to Legalities 233 Exercising Creative Control 233 Avoiding Sensationalism 234 Conclusion Activities 8 Voice and Presentation The Qualities of a Successful Communicator Appearance 238 Courtesy 239 Nervousness 240 Voice Quality 241 Breathing 241 Avoiding Nasal Sounds 243 Warming Up 244 Delivery 244 Enunciation 244 Phrasing 245 Emphasis 246 Pitch 248 Speech Patterns 249 Pacing 250 Tone 252 Additional Considerations 254 Accents 254 Problem Sounds 255 Local Pronunciations 255 Techniques for Improving Delivery 255 Underlining Copy 256 Practicing Out Loud 257 Presenting Stand-UPS Use of Clear, Simple Language 258 To Memorize or Not to Memorize? 259 Stationary Stand-Ups 259 Action Stand-Ups 260 Live Shots 261 The Wraparound 262 The Live Shot Interview 265 Extended Live Coverage 266 Conclusion Activities XI 234 235 237 237 258 267 267
XII CONTENTS PART 11 Advanced Reporting and Beyond 9 Finding News Sources Where We Find News Observation 272 Listening 273 Printed Materials 273 News Conferences 274 News Releases 275 People as Sources Friends as Sources 277 Getting People to Talk 278 Be Professional 279 Be Persistent 279 Offer Motivation 280 Preparing for the Interview Do the Background Work 281 Talk to the Right Person 282 Plan What to Ask 283 Set the Ground Rules 284 Source Agreements 285 Getting the Information on the Record 286 Going to Jail to Protect a Source 288 Do a Pre-interview 289 Getting the Most Out of the Interview Don’t “Interview” 290 Be Skeptical 290 Begin the Interview 291 Guarantee Accuracy 291 Listen Carefully 292 Use Interview Strategies 293 Play Dumb 293 Be Tough 295 Evaluating Ethics of the Ambush Interview 295 Ask the Tough Questions 296 Avoid Judgment 297 Ask for Proof 298 Rephrase the Question 298 Ask Why 298 269 271 272 275 281 290
CONTENTS Other Interviewing Techniques 299 Conclude the Interview 299 Conclusion Activities Works Cited 10 Using Public Records An Open Government Research and Public Records Records: Online and Off 305 Asking for Public Records 306 Freedom of Information Laws The Federal Freedom of Information Act 307 State FOI Laws 310 Government in the Sunshine Acts Sources of Public Information Birth and Death Records 311 Zoning and Planning Documents 311 Building Permits 312 Tax Records 312 Disclosure Forms for Elected Officials 312 Financial Disclosure 312 Campaign Disclosure 313 Phone Book 313 Business and Organizational Reports 313 Overview of the Courts Open Courtrooms 313 Exceptions to Open Courtrooms 315 Juvenile Proceedings 315 Grand Jury Proceedings 316 Federal and State Courts 316 Federal Courts 316 State Courts 318 Criminal and Civil Cases 320 Related Police Information 322 Grand Jury Indictments and Civil Actions 323 Cameras in Courtrooms 324 Court Records Information About Jurors 326 Dockets 327 Divorce Records 327 XIII 300 301 302 303 303 304 307 310 311 313 326
XIV CONTENTS Deeds 327 Wills 328 Marriage Licenses 328 Computer-Assisted Reporting Conclusion Activities 11 Legal Considerations The Consequences of Carelessness Legal Versus Ethical Libel 328 331 332 335 335 336 338 Libel and Public Figures 340 Libel and Private People 341 Defenses Against Libel Lawsuits 342 Truth 342 Fair Comment and Opinion 343 Absolute Privilege 345 Qualified Privilege 345 Consent 345 Retraction 346 Privacy 346 Intrusion 346 Public Property Versus Private Property 347 Hidden Recordings 348 False Light 349 Private Information 349 Appropriation 350 Defenses Against lnvasioti-of-Privacy Lawsuits 351 Consent 351 Newsworthiness 351 Copyright 352 Licensing Fees and Permission 352 Fair Use 352 Media Access Issues 353 Courtrooms 353 Public Meetings 354 Prisons 354 Schools 354 Crime Scenes 355 Court Orders Confidentiality and Contempt 355 355
CONTENTS XV Shield Laws 356 Subpoenas 358 Newsroom Searches 358 Conclusion Activities Works Cited 12 The Television Newsroom Key Players in the Newsroom The Daily Newsroom Schedule Contemporary Newsroom Issues 358 359 361 363 363 367 376 Economic Recession 376 Media Ownership 377 News as Entertainment 378 Lowest Common Denominator 379 Sensationalism 380 Government by Fear and Name Calling 381 Friendships and Conflict of Interest 381 Diversity and ”isms” in the Newsroom 382 13 Conclusion Activities Works Cited 383 384 384 Producing the News 385 The Producer’s Basic Responsibilities Producers as Writers 386 387 Transitions 389 Organization 390 Writing Resources 390 Newsroom Style 392 Race 393 Suspects 393 Rape Victims 393 Suicides 393 Juveniles 394 Jargon 394 Format and Mission 394 Know the Audience 395 Control Room Commands 396 Producers’ Resources Local News Reporters 396 396
XVI CONTENTS Live Shots 399 Extended Live Coverage 400 News Services 400 Previous Newscasts 400 Graphics 401 Live Backpack Units 402 Satellite Shots 403 Microwave Shots 404 Video Services 404 Shaping the Show Planning the Rundown 40S News Blocks 405 Teases 409 Timing 410 Specialized Rundown Software 413 During the Newscast 413 Conclusion Activities 14 Careers in Television News Getting In and Moving Up Developing Your Application Materials The Cover Letter 418 The Resume 418 The Video Reel 427 Preparation Makes the Difference Internships 429 Networking 429 The Road Trip 431 Defining Job Market Boundaries 432 Identifying the Position to Apply For 436 The Interview What to Wear 438 Accepting the Job 439 Benefits 439 Perks 440 Contracts 440 Moving Expenses 442 Success and Advancement Keep a Successful Attitude 442 Make the Most of the Opportunity 442 405 415 415 417 417 418 429 438 442
CONTENTS XVII Set Goals for Improvement 443 Set Goals for Advancement 443 Climbing the Ladder 443 Conclusion Activities 444 444 Glossary 445 Index 455
It is worse, much worse, than you think. The slowness of climate change is a fairy tale, perhaps as pernicious as the one that says it isn’t happening at all, and if your anxiety about it is dominated by fears of sea-level rise, you are barely scratching the surface of what terrors are possible, even within the lifetime of a teenager today. Over the past decades, the term ‘Anthropocene’ has climbed into the popular imagination - a name given to the geologic era we live in now, one defined by human intervention in the life of the planet. But however sanguine you might be about the proposition that we have ravaged the natural world, which we surely have, it is another thing entirely to consider the possibility that we have only provoked it, engineering first in ignorance and then in denial a climate system that will now go to war with us for many centuries, perhaps until it destroys us. In the meantime, it will remake us, transforming every aspect of the way we live - the planet no longer nurturing a dream of abundance, but a living nightmare.
David Wallace-Wells is deputy editor of New York magazine, where he also writes frequently about climate change and the near future of science and technology. In July 2017 he published a cover story surveying the landscape of worst-case scenarios for global warming that became an immediate sensation, reaching millions of readers on its first day and, in less than a week, becoming the most-read story the magazine had ever published - and sparking an unprecedented debate, ongoing still today among scientists and journalists, about just how we should be thinking, and talking, about the planetary threat from climate change.
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