A magazine is a publication a periodical publication, printed or electronically published. Magazines are published on a regular schedule and contain a variety of content, they are financed by advertising, by a purchase price, by prepaid subscriptions, or a combination of the three. At its root, the word "magazine" refers to a storage location. In the case of written publication, it is a collection of written articles; this explains why magazine publications share the word root with gunpowder magazines, artillery magazines, firearms magazines, and, in French, retail stores such as department stores. By definition, a magazine paginates with each issue starting at page three, with the standard sizing being 8 3⁄8 in × 10 7⁄8 in. However, in the technical sense a journal has continuous pagination throughout a volume, thus Business Week, which starts each issue anew with page one, is a magazine, but the Journal of Business Communication, which starts each volume with the winter issue and continues the same sequence of pagination throughout the coterminous year, is a journal.
Some professional or trade publications are peer-reviewed, an example being the Journal of Accountancy. Academic or professional publications that are not peer-reviewed are professional magazines; that a publication calls itself a journal does not make it a journal in the technical sense. Magazines can be distributed through the mail, through sales by newsstands, bookstores, or other vendors, or through free distribution at selected pick-up locations; the subscription business models for distribution fall into three main categories. In this model, the magazine is sold to readers for a price, either on a per-issue basis or by subscription, where an annual fee or monthly price is paid and issues are sent by post to readers. Paid circulation allows for defined readership statistics; this means that there is no cover price and issues are given away, for example in street dispensers, airline, or included with other products or publications. Because this model involves giving issues away to unspecific populations, the statistics only entail the number of issues distributed, not who reads them.
This is the model used by many trade magazines distributed only to qualifying readers for free and determined by some form of survey. Because of costs associated with the medium of print, publishers may not distribute free copies to everyone who requests one; this allows a high level of certainty that advertisements will be received by the advertiser's target audience, it avoids wasted printing and distribution expenses. This latter model was used before the rise of the World Wide Web and is still employed by some titles. For example, in the United Kingdom, a number of computer-industry magazines use this model, including Computer Weekly and Computing, in finance, Waters Magazine. For the global media industry, an example would be VideoAge International; the earliest example of magazines was Erbauliche Monaths Unterredungen, a literary and philosophy magazine, launched in 1663 in Germany. The Gentleman's Magazine, first published in 1731, in London was the first general-interest magazine. Edward Cave, who edited The Gentleman's Magazine under the pen name "Sylvanus Urban", was the first to use the term "magazine," on the analogy of a military storehouse.
Founded by Herbert Ingram in 1842, The Illustrated London News was the first illustrated magazine. The oldest consumer magazine still in print is The Scots Magazine, first published in 1739, though multiple changes in ownership and gaps in publication totalling over 90 years weaken that claim. Lloyd's List was founded in Edward Lloyd's England coffee shop in 1734. Under the ancient regime, the most prominent magazines were Mercure de France, Journal des sçavans, founded in 1665 for scientists, Gazette de France, founded in 1631. Jean Loret was one of France's first journalists, he disseminated the weekly news of music and Parisian society from 1650 until 1665 in verse, in what he called a gazette burlesque, assembled in three volumes of La Muse historique. The French press lagged a generation behind the British, for they catered to the needs the aristocracy, while the newer British counterparts were oriented toward the middle and working classes. Periodicals were censored by the central government in Paris.
They were not quiescent politically—often they criticized Church abuses and bureaucratic ineptitude. They supported the monarchy and they played at most a small role in stimulating the revolution. During the Revolution, new periodicals played central roles as propaganda organs for various factions. Jean-Paul Marat was the most prominent editor, his L'Ami du peuple advocated vigorously for the rights of the lower classes against the enemies of the people Marat hated. After 1800 Napoleon reimposed strict censorship. Magazines flourished after Napoleon left in 1815. Most were based in Paris and most emphasized literature and stories, they served religious and political communities. In times of political crisis they expressed and helped shape the views of their readership and thereby were major
A television show is any content produced for broadcast via over-the-air, cable, or internet and viewed on a television set, excluding breaking news, advertisements, or trailers that are placed between shows. Television shows are most scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might be called a television program if it lacks a narrative structure. A television series is released in episodes that follow a narrative, are divided into seasons or series – yearly or semiannual sets of new episodes. A show with a limited number of episodes may be called serial, or limited series. A one-time show may be called a "special". A television film is a film, broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time, be recorded on home video or a digital video recorder for viewing, or be viewed on demand via a set-top box or streamed over the internet; the first television shows were experimental, sporadic broadcasts viewable only within a short range from the broadcast tower starting in the 1930s.
Televised events such as the 1936 Summer Olympics in Germany, the 1937 coronation of King George VI in the UK, David Sarnoff's famous introduction at the 1939 New York World's Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 1947 World Series inspired many Americans to buy their first television set and in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name "Mr Television" and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers; the first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman's speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T's transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast in the US occurred on January 1, 1954.
During the following ten years most network broadcasts, nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color; the first all-color prime-time season came just one year later. In 1972, the last holdout among daytime network shows converted to color, resulting in the first all-color network season. Television shows are more varied than most other forms of media due wide variety formats and genres that can be presented. A show may non-fictional, it may be historical. They could be instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program features a set of actors playing characters in a historical or contemporary setting; the program follows their adventures. Except for soap opera-type serials, many shows before the 1980s, remained static without story arcs, the main characters and premise changed little.
If some change happened to the characters' lives during the episode, it was undone by the end. Because of this, the episodes could be broadcast in any order. Since the 1980s, there are many series that feature progressive change to the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure. While the series, Babylon 5 is an extreme example of such production that had a predetermined story running over its intended five-season run. In 2012, it was reported that television was growing into a larger component of major media companies' revenues than film; some noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: "I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television."
When a person or company decides to create a new series, they develop the show's elements, consisting of the concept, the characters, the crew, cast. They "pitch" it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot. Eric Coleman, an animation executive at Disney, told an interviewer, "One misconception is that it's difficult to get in and pitch your show, when the truth is that development executives at networks want much to hear ideas, they want much to get the word out on what types of shows they're looking for."To create the pilot, the structure and team of the whole series must be put together. If audiences respond well to the pilot, the network will pick up the show to air it the next season. Sometimes they save it for mid-season, or father review. Other times, they pass forcing the show's creator to "shop it around" to other networks. Many shows never make it past the pilot stage; the show hires a stable of writers, who usually
Breaking news, interchangeably termed late-breaking news and known as a special report or special coverage or news flash, is a current issue that broadcasters feel warrants the interruption of scheduled programming and/or current news in order to report its details. Its use is assigned to the most significant story of the moment or a story, being covered live, it could be a story, of wide interest to viewers and has little impact otherwise. Many times, breaking news is used after the news organization has reported on the story; when a story has not been reported on the graphic and phrase "Just In" is sometimes used instead. The format of a special report or breaking news event on television consists of the current non-news programming switching to a reverse countdown from 5 seconds, to allow any affiliated stations to switch to the network news feed. If a national network newscast is in progress when the breaking news event occurs, the newscast will pause temporarily to allow other network affiliates to join the network news feed.
There is an opening graphic, featuring music which adds an emphasis on the importance of the event. This is followed by the introduction of a news anchor, who welcomes the viewer to the broadcast and introduces the story at hand. Lower thirds and other graphics may be altered to convey a sense of urgency. Once the story is introduced, the network or local station may, if possible, choose to continue to show a live shot of the anchor or may cut away to video or images of the story, being followed during the broadcast. Additionally, the coverage may be passed to a reporter at the location of the breaking event sharing more information about the story as it breaks. Depending upon the story being followed, the report may last only a few minutes, or continue for multiple hours – or with the longest uninterrupted news events, four days – at a time. If coverage continues for an extended amount of time, the network may integrate analysis about the story through analysts in-studio, via phone, broadband or through other means of communication.
Depending on the severity of the event, regular commercial advertising may be suspended for sustained coverage, network affiliates will be required to insert their station identification in at the top of the hour overlaid during the report rather than through the usual means of a station imaging promo or program reminder. If a story occurs during the early fringe timeslot and depending on the magnitude of the events at hand, local stations might be given the opportunity to break away from the network feed and begin their evening newscasts; this is set up by a cue from the network's talent that they will pause for a few seconds to reset coverage, at which point an opening graphic may be rolled again. Information is disseminated from an internal alert service utilized by a station's master control. After the local newscast, stations will return to the network's feed as they would for the network newscast, but they may be joining in on an "extended edition". Whether or not a station will take over for local news is the choice of that station's news director.
When the coverage comes to a close, the network or station may either resume programming, occurring prior to the event or begin new programming, depending upon the amount of time spent on the coverage. The anchor will remind viewers to check the network's website, or watch any cable news channels that may be co-owned with the network for more information. If the story breaks during daytime programming, the anchor will remind viewers that there will be or might be more details on their local news that day and a full wrap-up on the network's evening news program. Regular daytime programming is re-joined in progress and segments may be missed. If the event occurs during prime time, the anchor will remind viewers that there will be more details on their late local newscast and on the network's overnight news program the next morning. Programming at this time is either joined in progress or started back up at the point of the interruption, depending on whether the program is new to air rated or has time left in its time slot to finish airing.
In either of the above instances, network programs that have segments not aired or are pre-empted in their entirety by breaking news reports – those that extend to or longer than 20 or 45 minutes, depending on the length of the scheduled program – may have to be rescheduled to air at a time. Some events, like State of the Union addresses and presidential debates, are s
A journalist is a person who collects, writes, or distributes news or other current information to the public. A journalist's work is called journalism. A journalist can specialize in certain issues. However, most journalists tend to specialize, by cooperating with other journalists, produce journals that span many topics. For example, a sports journalist covers news within the world of sports, but this journalist may be a part of a newspaper that covers many different topics. A reporter is a type of journalist who researches and reports on information in order to present in sources, conduct interviews, engage in research, make reports; the information-gathering part of a journalist's job is sometimes called reporting, in contrast to the production part of the job such as writing articles. Reporters may split their time between working in a newsroom and going out to witness events or interviewing people. Reporters may be assigned a specific area of coverage. Depending on the context, the term journalist may include various types of editors, editorial writers and visual journalists, such as photojournalists.
Journalism has developed a variety of standards. While objectivity and a lack of bias are of primary concern and importance, more liberal types of journalism, such as advocacy journalism and activism, intentionally adopt a non-objective viewpoint; this has become more prevalent with the advent of social media and blogs, as well as other platforms that are used to manipulate or sway social and political opinions and policies. These platforms project extreme bias, as "sources" are not always held accountable or considered necessary in order to produce a written, televised, or otherwise "published" end product. Matthew C. Nisbet, who has written on science communication, has defined a "knowledge journalist" as a public intellectual who, like Walter Lippmann, David Brooks, Fareed Zakaria, Naomi Klein, Michael Pollan, Thomas Friedman, Andrew Revkin, sees their role as researching complicated issues of fact or science which most laymen would not have the time or access to information to research themselves communicating an accurate and understandable version to the public as a teacher and policy advisor.
In his best-known books, Public Opinion and The Phantom Public, Lippmann argued that most individuals lacked the capacity and motivation to follow and analyze news of the many complex policy questions that troubled society. Nor did they directly experience most social problems, or have direct access to expert insights; these limitations were made worse by a news media that tended to over-simplify issues and to reinforce stereotypes, partisan viewpoints, prejudices. As a consequence, Lippmann believed that the public needed journalists like himself who could serve as expert analysts, guiding “citizens to a deeper understanding of what was important.” In 2018, the United States Department of Labor's Occupational Outlook Handbook reported that employment for the category, "reporters and broadcast news analysts," will decline 9 percent between 2016 and 2026. Journalists sometimes expose themselves to danger when reporting in areas of armed conflict or in states that do not respect the freedom of the press.
Organizations such as the Committee to Protect Journalists and Reporters Without Borders publish reports on press freedom and advocate for journalistic freedom. As of November 2011, the Committee to Protect Journalists reports that 887 journalists have been killed worldwide since 1992 by murder, crossfire or combat, or on dangerous assignment; the "ten deadliest countries" for journalists since 1992 have been Iraq, Russia, Mexico, Pakistan, Somalia and Sri Lanka. The Committee to Protect Journalists reports that as of December 1, 2010, 145 journalists were jailed worldwide for journalistic activities. Current numbers are higher; the ten countries with the largest number of currently-imprisoned journalists are Turkey, Iran, Burma, Vietnam, Cuba and Sudan. Apart from the physical harm, journalists are harmed psychologically; this applies to war reporters, but their editorial offices at home do not know how to deal appropriately with the reporters they expose to danger. Hence, a systematic and sustainable way of psychological support for traumatized journalists is needed.
However, only little and fragmented support programs exist so far. The Newseum in Washington, D. C. is home to the Journalists Memorial, which lists the names of over 2,100 journalists from around the world who were killed in the line of duty. The relationship between a professional journalist and a source can be rather complex, a source can sometimes impact the direction of the article written by the journalist; the article'A Compromised Fourth Estate' uses Herbert Gans' metaphor to capture their relationship. He uses a dance metaphor'The Tango' to illustrate the co-operative nature of their interactions "It takes two to tango". Herbert suggests that the source leads but journalists object to this notion for two reasons: It signals source supremacy in news making, it offends journalists' professional culture, which emphasizes editorial autonomy. This dance metaphor helps showcase consensus within the relationship but the article describe the common relation between the two "A relationship with sources, too cozy is compromising of journalists’ integrity and risks becoming collusive.
Journalists have favored a
In sports broadcasting, a sports commentator gives a running commentary of a game or event in real time during a live broadcast, traditionally delivered in the historical present tense. Radio was the first medium for sports broadcasts, radio commentators must describe all aspects of the action to listeners who cannot see it for themselves. In the case of televised sports coverage, commentators are presented as a voiceover, with images of the contest shown on viewers' screens and sounds of the action and spectators heard in the background. Television commentators are shown on screen during an event, though some networks choose to feature their announcers on camera either before or after the contest or during breaks in the action; the main commentator called the play-by-play announcer or commentator in North America, blow-by-blow in combat sports coverage or lap-by-lap for motorsports coverage, is the primary speaker on the broadcast. Broadcasters in this role are valued for their articulateness and for their ability to describe each play or event of an fast-moving sporting event.
The ideal play-by-play voice has a vocal timbre, tolerable to hear over the multiple hours of a sports broadcast and yet dynamic enough to convey and enhance the importance of the in-game activity. Because of their skills, some commentators like Al Michaels in the U. S. David Coleman in the UK and Bruce McAvaney in Australia, may have careers in which they call several different sports at one time or another. Other main commentators may, only call one sport; the vast majority of play-by-play announcers are male. Radio and television play-by-play techniques involve different approaches, it is unusual to have radio and television broadcasts share the same play-by-play commentator for the same event, except in cases of low production budgets or when a broadcaster is renowned. The analyst or color commentator provides expert analysis and background information, such as statistics, strategy on the teams and athletes, anecdotes or light humor, they are former athletes or coaches in their respective sports, although there are some exceptions.
The term "color" refers to insight provided by analyst. The most common format for a sports broadcast is to have an analyst/color commentator work alongside the main/play-by-play announcer. An example is NBC Sunday Night Football in the United States, called by color commentator Cris Collinsworth, a former American football receiver, play-by-play commentator Al Michaels, a professional announcer. In the United Kingdom, there is a much less distinct division between play-by-play and color commentary, although two-man commentary teams feature an enthusiast with formal journalistic training but little or no competitive experience leading the commentary, an expert former competitor following up with analysis or summary. There are however exceptions to this — most of the United Kingdom's leading cricket and snooker commentators are former professionals in their sports, while the former Formula One racing commentator Murray Walker had no formal journalistic training and only limited racing experience of his own.
In the United States, George "Pat" Summerall, a former professional kicker, spent most of his broadcasting career as a play-by-play announcer. Although the combination of a play-by-play announcer and a color commentator is standard as of 2014, in the past it was much more common for a broadcast to have no analysts and just have a single play-by-play announcer to work alone. Vin Scully, longtime announcer for the Brooklyn/Los Angeles Dodgers baseball team, was one of the few examples of this practice lasting into the 21st century until he retired in 2016. A sideline reporter assists a sports broadcasting crew with sideline coverage of the playing field or court; the sideline reporter makes live updates on injuries and breaking news or conducts player interviews while players are on the field or court because the play-by-play broadcaster and color commentator must remain in their broadcast booth. Sideline reporters are granted inside information about an important update, such as injury, because they have the credentials necessary to do so.
In cases of big events, teams consisting of many sideline reporters are placed strategically so that the main commentator has many sources to turn to. In motorsports, it is typical for there to be multiple pit reporters, covering the event from along pit road, their responsibilities will include covering breaking news trackside, interviewing crew chiefs and other team leaders about strategy, commentating on pit stops from along the pit wall. In British sports broadcasting, the presenter of a sports broadcast is distinct from the commentator, based in a remote broadcast television studio away from the sports venue. In North America, the on-air personality based in the studio is called the studio host. During their shows, the presenter/studio host may be joined by additional analysts or pundits when showing highlights of various other matches. Various sports may have different commentator
A news presenter – known as a newsreader, anchorman or anchorwoman, news anchor or an anchor – is a person who presents news during a news program on the television, on the radio or on the Internet. They may be a working journalist, assisting in the collection of news material and may, in addition, provide commentary during the program. News presenters most work from a television studio or radio studio, but may present the news from remote locations in the field related to a particular major news event; the role of the news presenter developed over time. Classically, the presenter would read the news from news "copy" which he may or may not have helped write with a or news writer; this was taken directly from wire services and rewritten. Prior to the television era, radio-news broadcasts mixed news with opinion and each presenter strove for a distinctive style; these presenters were referred to as commentators. The last major figure to present commentary in a news broadcast format in the United States was Paul Harvey.
With the development of the 24-hour news cycle and dedicated cable news channels, the role of the anchor evolved. Anchors would still present material prepared for a news program, but they interviewed experts about various aspects of breaking news stories, themselves provided improvised commentary, all under the supervision of the producer, who coordinated the broadcast by communicating with the anchor through an earphone. Many anchors write or edit news for their programs, although modern news formats distinguish between anchor and commentator in an attempt to establish the "character" of a news anchor; the mix of "straight" news and commentary varies depending on the type of program and the skills and knowledge of the particular anchor. The terms anchor and anchorman are derived from the usage common in relay racing the anchor leg, where the position is given to the fastest or most experienced competitor on a team. In 1948, "anchor man" was used in the game show "Who Said That?" to refer to John Cameron Swayze, a permanent panel member of the show, in what may be the first usage of this term on television.
The anchor term became used by 1952 to describe the most prominent member of a panel of reporters or experts. The term "anchorman" was used to describe Walter Cronkite's role at the Democratic and Republican National Conventions, where he coordinated switches between news points and reporters; the widespread claim that news anchors were called "cronkiters" in Swedish has been debunked by linguist Ben Zimmer. Anchors occupy a contestable role in news broadcasts; some argue anchors have become sensationalized characters whose identities overshadow the news itself, while others cite anchors as necessary figureheads of "wisdom and truth" in the news broadcast. The role of the anchor has changed in recent years following the advent of satirical journalism and citizen journalism, both of which relocate the interpretation of truth outside traditional professional journalism, but the place anchormen and anchorwomen hold in American media remains consistent. "Just about every single major news anchor since the dawn of the medium after World War II has been aligned with show business," says Frank Rich, writer-at-large for New York Magazine, in a polemic against commoditized news reporting, "reading headlines to a camera in an appealing way is incentivized over actual reporting".
Brian Williams, an anchor for NBC Nightly News, evidences this lapse in credibility generated by the celebration of the role of the anchor. In early 2015, Williams apologized to his viewers for fabricating stories of his experiences on the scene of major news events, an indiscretion resulting in a loss of 700,000 viewers for NBC Nightly News. David Folkenflik of NPR asserted that the scandal "corrodes trust in the anchor, in NBC and in the greater profession", exhibiting the way in which the credibility of the anchor extends beyond his or her literal place behind the news desk and into the expectation of the news medium at large. CBS's long-running nighttime news broadcast 60 Minutes displays this purported superfluousness of anchors, insofar as it has no central figurehead in favor of many correspondents with important roles. Up-and-coming news networks like Vice Magazine's documentary-style reporting eschew traditional news broadcast formatting in this way, suggesting an emphasis on on-site reporting and deemphasizing the importance of the solitary anchor in the news medium.
In her essay, "News as Performance", Margaret Morse posits this connection between anchor persona newsroom as an interconnected identity fusing many aspects of the newsroom dynamic: For the anchor represents not the news per se, or a particular network or corporate conglomerate that owns the network, or television as an institution, or the public interest. In this way, the network anchor position is a "symbolic representation of the institutional order as an integrated totality", an institutional role on par with that of the president or of a Supreme Court justice, although the role originates in corporate practices rather than political or judicial processes. Despite the anchor's construction of a commodified, aestheticized version of the news, some critics defend the role of the anchor in society, claiming that he or she functions as a necessary conduit of credibility; the news anchor's position as an omnipotent arbiter of information results from his or her place behind a elevated desk, wherefrom he or she interacts with reporters through a screen-within-screen spatial setup.
A criticism levied against the role of anchor stems from this dyn
Journalism refers to the production and distribution of reports on recent events. The word journalism applies to the occupation, as well as citizen journalists using methods of gathering information and using literary techniques. Journalistic media include print, radio, and, in the past, newsreels. Concepts of the appropriate role for journalism vary between countries. In some nations, the news media are controlled by government intervention and are not independent. In others, the news media are independent of the government but instead operate as private industry motivated by profit. In addition to the varying nature of how media organizations are run and funded, countries may have differing implementations of laws handling the freedom of speech and libel cases; the advent of the Internet and smartphones has brought significant changes to the media landscape in recent years. This has created a shift in the consumption of print media channels, as people consume news through e-readers and other personal electronic devices, as opposed to the more traditional formats of newspapers, magazines, or television news channels.
News organizations are challenged to monetize their digital wing, as well as improvise on the context in which they publish in print. Newspapers have seen print revenues sink at a faster pace than the rate of growth for digital revenues. Journalistic conventions vary by country. In the United States, journalism is produced by individuals. Bloggers are but not always, journalists; the Federal Trade Commission requires that bloggers who write about products received as promotional gifts to disclose that they received the products for free. This is intended to protect consumers. In the US, many credible news organizations are incorporated entities. Many credible news organizations, or their employees belong to and abide by the ethics of professional organizations such as the American Society of News Editors, the Society of Professional Journalists, Investigative Reporters & Editors, Inc. or the Online News Association. Many news organizations have their own codes of ethics that guide journalists' professional publications.
For instance, The New York Times code of standards and ethics is considered rigorous. When crafting news stories, regardless of the medium and bias are issues of concern to journalists; some stories are intended to represent the author's own opinion. In a print newspaper, information is organized into sections and the distinction between opinionated and neutral stories is clear. Online, many of these distinctions break down. Readers should pay careful attention to headings and other design elements to ensure that they understand the journalist's intent. Opinion pieces are written by regular columnists or appear in a section titled "Op-ed", while feature stories, breaking news, hard news stories make efforts to remove opinion from the copy. According to Robert McChesney, healthy journalism in a democratic country must provide an opinion of people in power and who wish to be in power, must include a range of opinions and must regard the informational needs of all people. Many debates center on whether journalists are "supposed" to be "objective" and "neutral".
Additionally, the ability to render a subject's complex and fluid narrative with sufficient accuracy is sometimes challenged by the time available to spend with subjects, the affordances or constraints of the medium used to tell the story, the evolving nature of people's identities. There are several forms of journalism with diverse audiences. Thus, journalism is said to serve the role of a "fourth estate", acting as a watchdog on the workings of the government. A single publication contains many forms of journalism, each of which may be presented in different formats; each section of a newspaper, magazine, or website may cater to a different audience. Some forms include: Access journalism – journalists who self-censor and voluntarily cease speaking about issues that might embarrass their hosts, guests, or powerful politicians or businesspersons. Advocacy journalism – writing to advocate particular viewpoints or influence the opinions of the audience. Broadcast journalism – written or spoken journalism for radio or television.
Citizen journalism – participatory journalism. Data journalism – the practice of finding stories in numbers, using numbers to tell stories. Data journalists may use data to support their reporting, they may report about uses and misuses of data. The US news organization ProPublica is known as a pioneer of data journalism. Drone journalism – use of drones to capture journalistic footage. Gonzo journalism – first championed by Hunter S. Thompson, gonzo journalism is a "highly personal style of reporting". Interactive journalism – a type of online journalism, presented on the web Investigative journalism – in-depth reporting that uncovers social problems. Leads to major social problems being resolved. Photojournalism – the practice of telling true stories through images Sensor journalism – the use of sensors to support journalistic inquiry. Tabloid journalism – writing, light-hearted and entertaining. Considered less legitimate than mainstream journalism. Yellow journalism – writing which emphasizes exaggerated claims or rumors.
The rise of social media ha