"The hard-hitting autobiography of the renowned, high profile TV investigator. In twenty-five years of investigative reporting Roger Cook has been knocked unconscious a dozen times, hospitalized on almost thirty occasions, and has had twenty-three bones broken by those who have resented his ruthless
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persistence – or just objected to the fact that he exists at all. He was born 6 April 1943 in New Zealand. His father – a timid man afraid of attack from Japanese submarines rumoured to have been sighted in Auckland harbour – soon found refuge and a new start for his family in Sydney, Australia. If anything was going to prepare Roger Cook for what he was to become, it was growing up in the Australia of the 1950s – a melting-pot of different nationalities, scarred by the war, and with an unsophisticated and sometimes brutal education system. After school and college he found his broadcasting feet at a Sydney commercial radion station, moving on to the Australian Broadcasting Corporation. He then emigrated to Britain to tackle BBC radio, where he prospered at ‘The World At One’. His brainchild, however, was ‘Checkpoint’, which became the most popular programme on Radio 4 after ‘Today’. During its twelve-year run, Cook and his team exposed a breadth of institutional incompetencies, bad law, injustices and naked criminality. The result was a series of awards for good journalism, significant changes in legislation, and the arrest and conviction of countless fraudsters and strong-arm villains. For his pains, Cook earned the sobriquet of ‘The Most Beaten-up Journalist in Britain’. Eventually he transferred the idea to television, where for twelve years ‘The Cook Report’ flourished. Organised crime, drug-smuggling, pornography, animal cruelty, the IRA. Cook has attacked them all in search of justice – and won. Published to coinincide with ‘Cook Report’ TV specials in June, August, October and December, Dangerous Ground is his breathtaking story." (Abstract)
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"From outbreaks of the flesh eating viruses Ebola and Strep A, to death camps in Bosnia and massacres in Rwanda, the media seem to careen from one trauma to another, in a breathless tour of poverty, disease and death. First we're horrified, but each time they turn up the pitch, show us one image mor
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e hideous than the next, it gets harder and harder to feel. Meet compassion fatigue--a modern syndrome, Susan Moeller argues, that results from formulaic media coverage, sensationalized language and overly Americanized metaphors. In her impassioned new book, Compassion Fatigue, Moeller warns that the American media threatens our ability to understand the world around us. Why do the media cover the world in the way that they do? Are they simply following the marketplace demand for tabloid-style international news? Or are they creating an audience that as seen too much--or too little--to care? Through a series of case studies of the Four Horsemen of the Apocalypse--disease, famine, death and war--Moeller investigates how newspapers, newsmagazines and television have covered international crises over the last two decades, identifying the ruts into which the media have fallen and revealing why. Throughout, we hear from industry insiders who tell of the chilling effect of the mega- media mergers, the tyranny of the bottom-line hunt for profits, and the decline of the American attention span as they struggle to both tell and sell a story. But Moeller is insistent that the media need not, and should not, be run like any other business. The media have a special responsibility to the public, and when they abdicate this responsibility and the public lapses into a compassion fatigue stupor, we become a public at great danger to ourselves." (Publisher description)
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"Mit Hilfe von Befragungen unter europäischen Aus- und Weiterbildungseinrichtungen werden Zusammenhänge hergestellt zwischen den Trends, dem Bedarf von Medienmärkten und Entwicklungen in verwandten Berufsfeldern wie der Öffentlichkeitsarbeit. Der Band vermittelt eine aktuelle Bestandsaufnahme zu
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r Journalistenausbildung in Europa und zu den Unterschieden in Ausbildung und Tradition." (Verlagsbeschreibung)
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"This book makes English speakers aware of the dimensions, operation, and significance of the globalisation of television in the Spanish-speaking world. Second only in scale to the market for English-language programming, the Spanish-language market embraces not just most nations of South and Centra
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l America but also Spain, and even the United States – the sixth largest Spanish-speaking country in the world. This intercontinental space is connected physically by satellite communication, and culturally by a common language and heritage which binds it as both a ‘geolinguistic region’ and an ‘imagined community’ which certain media corporations, Latin American and North American, seek to exploit. A similar phenomenon with regard to Brazil and the Portuguese-speaking world is also examined, with special attention to its comparable features and points of exchange with the Spanish-speaking world. The book chronicles and analyses the development and structure of the globalisation of these markets as a ‘Latin world’." (Abstract)
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In der umfangreichen Studie stehen zwei Fragen im Mittelpunkt: Warum setzen sich Menschen unter TV-Bedingungen Situationen aus, denen sie im wirklichen Leben nicht begegnen wollen? Welche Wirkung hat die Fernsehgewalt-Rezeption auf Einstellungen der Zuschauer? Ihr liegen die Ergebnisse einer Untersu
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chungsreihe mit über 1.200 Probanden ab 11 Jahren zugrunde.
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"Die vorliegende Dissertation stellt das Engagement der katholischen Kirche von 1984 (Start des Privatfernsehens) bis 1995 im deutschen Privatfernsehen dar. Die ersten fünf Kapitel des Buches geben einen Überblick über die Entwicklung der Medien, die Lehraussagen der katholischen Kirche zu den Me
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dien, die Einführung des Privatfernsehens in Deutschland, die für die kirchliche Medienpräsenz verantwortlichen Institutionen und über die mit den privaten Fernsehanstalten geschlossenen Verträge hinsichtlich kirchlich verantworteter Sendeteile. Dann beschäftigen sich drei Kapitel mit den kirchlichen Programmangeboten von RTL, Sat.1 und Pro7. "Der Schwerpunkt und eigentliche Gewinn des Buches liegt zweifellos in der umfassend recherchierten und akribisch durchgeführten vollständigen Dokumentation der bis 1995 ausgestrahlten Sendereihen von Kunst und Botschaft über Eselsohr & Teufelsschwanz bis zur Krimiserie Schwarz greift ein [...] Fazit: Wer sich einen Überblick über die kirchliche Präsenz im Fernsehen verschaffen will, findet alle nötigen Informationen. Aber auch für jeden, der sich Gedanken über die Zukunft der Verkündigung im Fernsehen Gedanken macht, sei das Buch empfohlen (Medien praktisch 1/01, Seite 71-72)." (commbox)
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