front cover of The Vanishing Newspaper [2nd Ed]
The Vanishing Newspaper [2nd Ed]
Saving Journalism in the Information Age
Philip Meyer
University of Missouri Press, 2009
Five years ago in The Vanishing Newspaper, Philip Meyer offered the newspaper industry a business model for preserving and stabilizing the social responsibility functions of the press in a way that could outlast technology-driven changes in media forms. Now he has updated this groundbreaking volume, taking current declines in circulation and the number of dailies into consideration and offering a greater variety of ways to save journalism.
Meyer’s “influence model” is based on the premise that a newspaper’s main product is not news or information, but influence: societal influence, which is not for sale, and commercial influence, which is. The model is supported by an abundance of empirical evidence, including statistical assessments of the quality and influence of the journalist’s product, as well as its effects on business success.
Meyer now applies this empirical evidence to recent developments, such as the impact of Craigslist and current trends in information technologies. New charts show how a surge in newsroom employment propped up readership in the 1980s, and data on the effects of newsroom desegregation are now included. Meyer’s most controversial suggestion, making certification available for reporters and editors, has been gaining ground. This new edition discusses several examples of certificate programs that are emerging in organizations both old and new.
Understanding the relationship between quality and profit probably will not save traditional newspapers, but Meyer argues that such knowledge can guide new media enterprises. He believes that we have the tools to sustain high-quality journalism and preserve its unique social functions, though in a transformed way.
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front cover of The Victory Album
The Victory Album
Reflections on the Good Life after the Good War
Philip D. Beidler
University of Alabama Press, 2010
In these essays, a combination of personal remembrance and broad-stroke cultural history, Philip Beidler addresses the culture and politics of post–WWII America: the national blindness toward the Holocaust and a rising China, the canker of McCarthyism, ascendant cultures of hard smoking and heavy drinking, the worship of cars and film idols, and the chronic fear of an always-possible nuclear apocalypse. In lively, driving prose, he recalls veiled episodes in the history of the Korean War, the civil rights movement, and the struggle for women’s liberation. On these subjects and many others, Beidler draws from his own experience and a penetrating grasp of American social history, offering deep, pointed, and comprehensive perspectives on iconic moments in American history.

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front cover of The View from Somewhere
The View from Somewhere
Undoing the Myth of Journalistic Objectivity
Lewis Raven Wallace
University of Chicago Press, 2019
A look at the history and myth of the objective journalist and how this ideal has been used to silence marginalized voices.

 In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. 
 
With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry.
 
The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.  
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front cover of Visions of the Press in Britain, 1850-1950
Visions of the Press in Britain, 1850-1950
Mark Hampton
University of Illinois Press, 2004
Historians recognize the cultural centrality of the newspaper press in Britain, yet very little has been published regarding competing historical understandings of the press and its proper role in British society.

In Visions of the Press in Britain, 1850-1950, Mark Hampton argues that qualities expected of the contemporary British press--lively writing, speed, impartiality, depth, and the ability to topple corrupt governments by informing readers--are not obvious attributes of journalism but derive from more than a century of debate. He analyzes the various historical conceptions of the British press that helped to create its modern role, and demonstrates that these conceptions were intimately involved in the emergence of mass democracy in the late nineteenth and early twentieth centuries.

Hampton surveys a diversity of sources--Parliamentary speeches and commissions, books, pamphlets, periodicals and select private correspondence--in order to identify how governmental elites, the educated public, professional journalists, and industry moguls characterized the political and cultural function of the press. The resulting blend of cultural history and media sociology demonstrates how once optimistic visions of the press have given way to more pessimistic contemporary views about the power of the mass media.

With clarity and panache, this book shows that many competing conceptions continued to influence twentieth-century understandings of the press but did not remain satisfactory in new political, cultural, and media environments. Visions of the Press in Britain, 1850-1950 provides a rich tapestry against which to understand the contemporary realities of journalism, democracy, and mass media.

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