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War vocabulary in the news media essay
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Words came from readers in Cleveland that “‘the impression soon prevails in your mind that Ernie Pyle… is the President of the United State’” (Tobin 29). In the midst of World War II Ernie Pyle stood out from the crowd of journalists with a style that hadn’t been seen before but spoke to American readers all over both on the home front and abroad. One writer and historian, Jordan Braverman, puts it into perspective however the lack of truth of some reporting by saying, “Soldiers were known to have huddled in foxholes under heavy aerial bombardment, while their radios were telling them that U.S. forces had complete control of the skies in their battle sector” (Braverman 84). It wasn’t just radio that did this but also print media that both wasn’t always accurate and could be seen as having alternative motives in their writing. One reader summed it up as “you read Lippman for wisdom. Pegler for controversy, Winchell for gossip, but Pyle you read for sustenance in difficult times” (Tobin 28). Echoing this feeling, one deliveryman proclaimed “‘the trouble with these column guys is they want to organize the world… except Pyle. Throw the rest away, but gimme Pyle’” (Tobin 28). Ernie Pyle began his career as a columnist before World War II had begun, and so did his development of distinct aspects of journalism that he carried through his Word War II columns and brought with them a new light to journalism. Roy Howard himself the head of the Scripps-Howard Publishing company wired Pyle a message during the war. It read, “‘ YOUR STUFF IS NOT ONLY GREATEST YOUR CAREER… BUT MOST ILLUMINATING HUMAN AND APPEALING DESCRIPTIVE MATTER PRINTED AMERICA SINCE OUTBREAK BATTLE BRITAIN…YOUR STUFF TALK OF NEW YORK’” (Tobin 57-58). Pyle gathered inform...
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...f the war seeing it first hand. However even with his gained authority as a writer and his appeal to his audiences it must be considered the cost at which his different style of journalism was compromised in the process. Although we imagine reporters saying what they want and feel most important to share, it must be considered that beyond the censoring they face, they need to keep their job. If they write with a voice their audience doesn’t like, an honesty that people find offensive or to overwhelming to name only a few concerns if their audience doesn’t read their articles, they lose their job. Also because Pyle wrote from within the army he had to keep them pleased with him and comfortable sharing their stories. In a few cases the ____ even invited him along secret events because they trusted him to report about the event in a way that suits both him and theirs.
It wasn’t just when the news was delivered but also how it was delivered. It had an influence because of the great personalities of Dick Smyth, Lee Marshall, Grant Hudson and others who dramatically and entertainingly delivered the news. They reported the news “dramatically” and with the “same energy as disk jockeys had snappy writing with alliterations, and a lot of short sound bites.” They were deejays without music. This dynamic combination of news reporting made for an amusing news report; that not only captured the audience, but also kept them tuning in.
For an example of the authors use of specific examples while describing what the media decides as news worthy the author writes, “The public rarely hears about the routine ceremonies at state dinners, but when President George Bush threw up all over the Japanese prime minister in 1992, the world’s media jumped on the story” (Edwards, Wattenberg, Lineberry, 2015, p. 398). This is an indication of how the media decides what is newsworthy. This quote demonstrates some of the strengths of the article because, not only does the quote support how the media decides what is news worthy, but it also shows no bias and is a factual, specific example. Another quote that demonstrates the strengths of the article is “Journalists and politicians have a symbiotic relationship, with politicians relying on journalists to get their message out and journalists relying on politicians to keep them in the know”. (p.400). this quote demonstrates the strengths of the article because, it shows how the media gets its news, how politicians gains their influence, and shows no bias. One last quote that emphasizes the strengths of this excerpt is “The media can even have a dramatic effect on how the public evaluates specific events by emphasizing one event over others. When during a 1976 presidential debate, President Ford incorrectly stated that the Soviet Union did
O’Brien, Tim. “How To Tell a True War Story.” The Compact Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford St. Martins, 2003. p. 420-429.
King, Rosemary. "O'Brien's 'How to Tell a True War Story.'" The Explicator. 57.3 (1999): 182. Expanded Academic ASAP.
In “How to Tell a True War Story” by Tim O’Brien, Orwell’s ideas are questioned and the competition between the truth and the underlying meaning of a story is discussed. O’Brien’s story depicts that the truth isn’t always a simple concept; and that not every piece of literature or story told can follow Orwell’s list of rules (Orwell 285). The story is told through an unnamed narrator as he re-encounters memories from his past as a soldier in the Vietnam War. With his recollection of past encounters, the narrator also offers us segments of didactic explanation about what a “true war story” is and the power it has on the human body (O’Brien 65). O’Brien uses fictional literature and the narration of past experiences to raise a question; to what extent should the lack of precision, under all circumstances, be allowed? In reality, no story is ever really truthful, and even if it is, we have no proof of it. The reader never feels secure in what they are being told. The reliability of the source, the author, and the narrator are always being questioned, but the importance of a story isn’t about the truth or the accuracy in which it is told, but about the “sunlight” it carries (O’Brien 81).
...n amnesiac nation into “working through” its troubled past.” (Bly ,189) Story telling was the soldier’s salvation, their survival method. Being able to tell their stories let them express everything they were feeling and ultimately cope with the horrors of war and the guilt the carried.
O’Brien, Tim. How to Tell a True War Story. Literature and Ourselves. Sixth Edition. Eds.
King, Rosemary. "O'Brien's 'How to Tell a True War Story.'" The Explicator. 57.3 (1999): 182. Expanded Academic ASAP.
In Hedges' first chapter of the book titled, "The Myth of War," he talks about how the press often shows and romanticizes certain aspects of war. In war there is a mythic reality and a sensory reality. In sensory reality, we see events for what they are. In mythic reality, we see defeats as "signposts on the road to ultimate victory" (21), Chris Hedges brings up an intriguing point that the war we are most used to seeing and hearing about (mythic war )is a war completely different than the war the soldiers and journalists experience ( sensory war), a war that hides nothing. He states, "The myth of war is essential to justify the horrible sacrifices required in war, the destruction and death of innocents. It can be formed only by denying the reality of war, by turning the lies, the manipulation, the inhumanness of war into the heroic ideal" (26). Chris Hedges tries to get the point across that in war nothing is as it seems. Through his own experiences we are a...
The New Yorker was launch by Harold Ross on February 21st thanks to the generous financial investment from Raoul Fleischmann who was the founder of General Baking Company (A New Yorker..). The infamous Eustace Tilley, the drawing of the man wearing a monocle, was drawn by Rea Irvin and it has sense become the face of the journal (A New Yorker..). Since The New Yorkers’ inception, “The Talk of The Town” has been a key highlight of the publication due to the raw nature of the editorial staff that contributed. During WWII, when reading “The Talk of The Town” a reader could gain insight as to what the editorial staff felt about the situation at hand and they could possibly relate to the editors on a more personal level. This in turn helped fuel the success of the journal during WWII, which prompted them to publish an overseas edition for the troops (Home Front).
The Vietnam war has became commonly known as the “Living-Room War” and for good reason. Being the first war publicly televised and covered by the media, the news anchors, journalists, photographers, and other reporters had a heavy influence on America and its view on the Vietnam war. A significant voice during war time was Walter Cronkite. CBS Evening News Anchor, Cronkite, was considered “the most trusted man in America” during war time. After Cronkite’s famed editorial, President Lyndon B. Johnson said “If we’ve lost Cronkite, we’ve lost Middle America”, further exemplifying that one man
Edward R. Murrow’s profound impact on the field of journalism defines much of what the modern news media industry is today. Edward R. Murrow’s career offers aspiring journalist a detailed set of standards and moral codes in how a journalist should receive and report the news. The development of CBS is largely attributed to Murrow, and derives from his ambitious attitude in utilizing the television and radio to deliver the news. Murrow gained a stellar reputation in the minds of American’s during WWII by placing himself in the heart of the war, and delivering information through radio in his famous This is London broadcasts. His battles with Senator Joseph McCarthy are largely referred to as his most prominent achievement in which Murrow exposed the unfair practices of Senator McCarthy in his wild accusations on those in the American public of being affiliated with communism. At the RTNDA conference Murrow arguably deliver his most famous speech, which included his hopes and fears of the news media industry in years to come. Although much of today’s news media industry would be held in disdain in the mind of Murrow his practices are still referred due and held in high regard by his contemporaries and fellow aspiring journalist. Edward R. Murrow set the standard of American journalism, and had the largest individual impact on the news media industry in history.
O’Brien, Tim. “How to Tell a True War Story.” The Things They Carried. Boston: Houghton Mifflin, 1990. Print.
Yellow journalism is “a scandal-mongering practice of journalism that emerged in New York” during the nineteenth century (Kennedy and Cohen 558). This form of propaganda was influential during a time of war because it persuaded many indecisive Americans. For example, William Randolph Hearst had “the most influential newspaper in New York” (Crucible of Empire). In his newspaper, the New York Journal, he was able to spin stories in ways that he wanted to; thereby controlling the public and their thoughts and opinions on certain issues. In particular, his article about the sinking of the Maine was one of the biggest and most influential stories he published (“Yellow Journalism” par. 3). “After the sinking of the Maine, the Hearst newspapers, with no evidence, unequivocally blamed the Spanish” and the public quickly followed (“Yellow Journalism” par. 3). His story changed America’s view on the situation and eventually provoked action. The Spanish American War marked a change in the way many wars were typically fought. At the turn of the century, “the United States emerged as a world power, and the U.S. press proved its influence” (“Yellow Journalism” par. 4). As shown in the documentary, Crucible of Empire, the Spanish American War changed the way Americans approached war by introducing the practice of yellow journalism and influential