Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 165-178). Also available in electronic format on the Internet.

Approved for public release; distribution is unlimited / During Operation Iraqi Freedom (OIF), the U.S. Department of Defense instituted a program to attach civilian journalists to coalition military units. Their purpose was to report firsthand on the military campaign to topple Saddam Hussein. These "embedded journalists," as they were called, would travel, eat, sleep, and endure the same hardships and dangers of the soldiers and Marines they were accompanying. While their immediate and highly dramatic accounts offered a perspective not before seen by the news-hungry U.S. public, they also raised questions if the "embedding" process resulted in a more thematically narrow coverage of the war. This study addresses the newspaper coverage of OIF by examining the content of the embedded and non-embedded war reporting of various highly circulating U.S. newspapers. It is posited that being attached or embedded within U.S. military units resulted in the journalists producing a body of stories concerning military operations and personnel markedly different than nonembedded reporters during OIF. / Major, United States Marine Corps

published_or_final_version / Journalism and Media Studies Centre / Master / Master of Journalism

No description available.

How war is depicted matters vitally to all of us. In the vast literature on war representation, little attention is paid to the fact that where the war recorder1stands crucially affects the portrayal. Should the writer be present on the battle-field, and, if so, where exactly? Should the recording figure be present in the text, and, if so, in what guise? 'Standing' differs from person to person, conflict to conflict, and between genders. Therefore, this thesis focuses on one particular war recorder in one particular war: the American journalist and fiction-writer, Martha Gellhorn (1908-98), in the European Theatre of Operations during World War Two. The fact that Gellhorn was a woman affected how she could and did place herself in relation to battle - but gender, though important, was not the only factor. Her course in and around war was dazzling: hitching rides, stowing away, travelling on dynamite-laden ships through mined waters, flying in ancient planes and deadly fighter jets, driving from battle-field to battle-field, mucking in, standing out. Her trajectory within her prose is equally versatile: she zooms in and out like a camera lens from impassiveness to intense involvement to withdrawal. The thesis is organised along the same spectrum. The first two chapters plot the co- ordinates forming the zero point on the graph of Gellhorn's Second World War writings (earlier American war correspondence, the 1930s' New Reportage, Gellhorn's upbringing and journalistic apprenticeship). Chapter Three then shows her in the guise of self-effacing, emotionally absent recorder. Moving from absence to presence, Chapter Four considers Martha Gellhorn in the field and Chapter Five 'Martha Gellhorn' in the text. Chapter Six describes the shift from presence to participation, before reaching the end of the parabola in Gellhorn's disillusionment in the power of writing to reform and her concerns about women's presence in the war zone. Given that positioning is the central concern, it is important to note the placement of Martha Gellhorn within the thesis itself. She stands as the central, pivotal example of the war recorder, illuminated by various contexts and comparisons with other writers (notably Ernest Hemingway, to whom she was married from 1940 to 1945). As a result of this approach, there are necessarily stretches of the text from which she is absent, as the survey turns to theoretical and comparative discussion. The hope is that this methodology reveals why Gellhorn, in the field and in the text, went where she did.

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Dr. Peter P. Garretson, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed June 13, 2005). Document formatted into pages; contains v, 150 pages. Includes bibliographical references.

Little significance has been given to the important role played by journalism during the previous trial to the Chilean’s War Declaratory against Peru and Bolivia. In the same way to the journalists, the war stringer who were sent by the newspapers with the aim of covering warlike events including naval procedures. Among them, there were four journalists who kept their readers updated with the most patriotic and shocking columns. For instance, we must never forget names like Del Campo, Neto, Reyes and Horta. / Poca atención se ha dado al importante papel que tuvo el periodismo en el proceso previo a la declaratoria de guerra por Chile contra el Perú y Bolivia. Igualmente a los periodistas, a los corresponsales de guerra que los diarios enviaron para cubrir los eventos bélicos, incluyendo las acciones navales. Entre estos destacaron cuatro que mantuvieron informados a sus lectores con crónicas patrióticas y dramáticas, de mucha emoción: Del Campo, Neto, Reyes y Horta son nombres que debemos recordar.

The process of democratization which appeared in the nineteenth century was partly responsible for the emergence of a mass readership. It consisted of the new urban population which had its own tastes and interests, intellectual capacity and purchasing power. The popular press was firmly established by 1900 and it radically altered the scope and style of daily journalism in its attempt to speak in the language of the majority. Philip Gibbs was one of the prominent journalists between 1900 and 1914. His aspiration to become a war correspondent stemmed from the image of the war correspondent as a figure of romance and adventure, the consequence of the militarist spirit of the age and the licence which granted him freedom of movement. Inevitably, the war correspondent carne in conflict with the military which had not kept pace with democratization and sensed a challenge to itself and to national security. Censorship and restrictions on the war correspondent tightened, until major army reforms between 1901 and 1912 brought more cordial relations between the press and the military. When the Great War broke out in 1914 the co-operative atmosphere broke down as censorship was reinstated, more severely than before. It challenged the freedom of the press and the right of the people to know. Gibbs was determined that the people should have access to news from the front. He fought hard for that objective and was instrumental in the compromise reached between the military and the press when an officially recognized system was devised for press representation on the Western Front. The wisdom of such a move was shown by the success of Philip Gibbs' war correspondence, which had appeal to a mass readership in its own language and with subjects of interest to it.

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Thesis (MA)--Macquarie University (Division of Society, Culture, Media & Philosophy, Dept. of Media and Communications), 2006. / Bibliography: leaves 176-188. / Precursors -- An imperfect war -- Interregnum -- The perfect war -- Conclusions. / This thesis explores how war reporting on Australian television has been dramatically reshaped over the last 40 years, particularly by new technologies. Specifically, it seeks to answer these questions: 1. How did differing cultural, social, political and professional contexts, available technology and battlefield experience affect the attitudes, editorial content and narrative forms of two generations of television correspondents - in Vietnam and Iraq respectively? 2. How did technological and other industry changes over the 30 years between Vietnam and Iraq reshape the power relationship between the war correspondent in the field and his news producers and managers? What impact did these changes have on the resulting screened coverage? What are the longer-term implications for journalism and for audiences? / Mode of access: World Wide Web. / 192 leaves ill. (some col.)