cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.25549/ijpc-ouc113787980
title: Image of the Journalist in Silent Film Part Two 1920-1929 Part A

description: Part A: The Image of the Journalist in Silent Film, 1920-1929, a 11:45:00 compilation with excerpts from 79 movies. https://www.ijpc.org/ijpc_templates/page/114103/
DOI: 10.25549/ijpc-ouc113787963
title: Image of the Journalist in Silent Film, 1890-1919

description: The Image of the Journalist in Silent Film, 1890 to 1919, a 6:37:00 compilation with excepts from 56 movies tracing the origins of the image of the journalist in motion pictures. https://www.ijpc.org/ijpc_templates/page/109359/
DOI: 10.25549/ijpc-ouc113787962
title: Image of the journalist in popular culture silent film collection

description: The Image of the Journalist in Popular Culture video collection contains videos and Journalism 201 class materials in the following collections. Image of the journalist in popular culture collection, promotion, and research videosHeroes and scoundrels journalist in popular culture project video collectionImage of the journalist in popular culture silent film collectionJoe Saltzman produced documentaries and historic programmingJournalism 201 - Culture of Journalism: past, present and futureJournalism ethics goes to the movies The material comes from The Image of the Journalist in Popular Culture (IJPC) project in the Norman Lear Center at USC Annenberg. The mission of the IJPC is to investigate and analyze through research and publication the conflicting images of journalists in film, television, radio, fiction, commercials, cartoons, comic books, music, art, video games and other aspects of popular culture demonstrating their impact on the public’s perception of newsgatherers. It was founded in 2000 by Joe Saltzman, professor of journalism at the USC Annenberg School for Communication. Today, the IJPC Web site (ijpc.org) and the IJPC Database are considered the definitive worldwide sources for this subject and are used on a daily basis by scholars, students and professionals who want to do more research in this area.
DOI: 10.25549/ijpc-ouc113774659
title: 23. Newsreel photojournalists - Photography

description: 23. Newsreel photojournalists - Photography (Spring 2023 Lecture 23 Monday 201)
DOI: 10.25549/ijpc-ouc113774602
title: Black on black

description: Black on Black, a 90-minute program with no written narration on what it is like to be an African American in urban America, 1967. The first documentary of its kind to air on television. The documentary is considered one of the seminal television documentaries on African Americans, the only known television record of Black life in America in the 1960s.
DOI: 10.25549/ijpc-ouc113774601
title: Joe Saltzman produced documentaries and historic programming

description: Joe Saltzman wrote and produced several historic documentaries and other materials between 1968 and 1974. Saltzman won more than 50 awards during this six-year period for his documentaries and news programs. The collection includes:Black on Black, a 90‑minute documentary told without a narrator depicting how it feels to be black and live in South‑Central Los Angeles.The Unhappy Hunting Ground, a 90-minute documentary on the Native American in Los Angeles.The Junior High School, a two-hour documentary on the junior high school experience.The Very Personal Death of Elizabeth Schell Holt‑Hartford, a 30‑minute documentary on an 82‑year‑old woman trying to live out her life in dignity.Rape, a 30‑minute documentary on the crime of rape. The first documentary on the subject for television, which resulted in changes in California law.Why Me? a one‑hour documentary on breast cancer narrated by actress Lee Grant.In addition, there are other programs and original materials from 1968 through 1990. Including, When Children Grieve, showing what a child goes through when a parent dies. Various fragments from Entertainment Tonight.
DOI: 10.25549/ijpc-ouc113774583
title: 18. LGBTQ+

description: 18. LGBTQ+ (Spring 2023 Lecture 18 Wednesday)
DOI: 10.25549/ijpc-ouc113768112
title: Journalism ethics goes to the movies

description: IJPC Journalism Ethics Goes to the Movies companion videos follow the book of the same name by Howard Good (Rowman & Littlefield, Lanham, MD, 2008) chapter by chapter. The book’s 12 chapters explore issues that should concern anyone who aspires to a career in journalism, works in journalism or relies on journalism for daily information. The contributors do their exploring at the movies where sportswriters, war correspondents, investigative reporters, crime reporters, spin-doctors, TV anchors and harried city editors jostle for attention.
DOI: 10.25549/ijpc-ouc113764851
title: Chapter 4: Power

description: Power is the focus of chapter 4. Critics have pointed to the circumstances under which the press may violate the trust of the powerless and also how it can serve as an instrument of those who do hold political or economic power. Many popular culture works graphically depict the damage that the press can inflict on individuals, even if they might finally show journalists trying to do the right thing in the end. The negative effects of state control or censorship of the press are often dramatized, with the implication being that privately owned and commercially subsidized news media are right and just. However, pop culture also shows that corporate pressures stemming from private control can themselves lead to censorship or coercion.
DOI: 10.25549/ijpc-ouc113764845
title: Chapter 4: Power

description: Power is the focus of chapter 4. Critics have pointed to the circumstances under which the press may violate the trust of the powerless and also how it can serve as an instrument of those who do hold political or economic power. Many popular culture works graphically depict the damage that the press can inflict on individuals, even if they might finally show journalists trying to do the right thing in the end. The negative effects of state control or censorship of the press are often dramatized, with the implication being that privately owned and commercially subsidized news media are right and just. However, pop culture also shows that corporate pressures stemming from private control can themselves lead to censorship or coercion.
DOI: 10.25549/ijpc-ouc113764838
title: Chapter 3: Difference

description: Chapter 3 looks at difference. Journalists have been criticized for seeing themselves as being different from everyone else—as somehow standing above and beyond the rest of the citizenry. At the same time, the struggles of journalists who are not male, white, or heterosexual have been well docu­mented, as have the difficulties of the mainstream press in covering gender, race, and sexual orientation. In the nineteenth century and through most of the twentieth century, journalism was one of the relatively few professions in which a single, divorced, or widowed woman could find work and mar­ried women could earn enough money to take care of themselves and their families. Still, in pop culture, journalism has been portrayed as a particularly difficult career choice for women, who are caught between culture’s “gen­dered” expectations of them as being caring and nurturing and the gendered expectations of journalists as being tough and independent—that is, stereo­typically masculine. The difficulties of ethnic minority and LGBT (lesbian, gay, bisexual, transgender) journalists also have been depicted, with some of the most interesting portrayals having been produced by minority and/ or gay or lesbian authors or directors.
DOI: 10.25549/ijpc-ouc113764834
title: Chapter 3: Difference

description: Chapter 3 looks at difference. Journalists have been criticized for seeing themselves as being different from everyone else—as somehow standing above and beyond the rest of the citizenry. At the same time, the struggles of journalists who are not male, white, or heterosexual have been well docu­mented, as have the difficulties of the mainstream press in covering gender, race, and sexual orientation. In the nineteenth century and through most of the twentieth century, journalism was one of the relatively few professions in which a single, divorced, or widowed woman could find work and mar­ried women could earn enough money to take care of themselves and their families. Still, in pop culture, journalism has been portrayed as a particularly difficult career choice for women, who are caught between culture’s “gen­dered” expectations of them as being caring and nurturing and the gendered expectations of journalists as being tough and independent—that is, stereo­typically masculine. The difficulties of ethnic minority and LGBT (lesbian, gay, bisexual, transgender) journalists also have been depicted, with some of the most interesting portrayals having been produced by minority and/ or gay or lesbian authors or directors.
DOI: 10.25549/ijpc-ouc113764830
title: Chapter 3: Difference

description: Chapter 3 looks at difference. Journalists have been criticized for seeing themselves as being different from everyone else—as somehow standing above and beyond the rest of the citizenry. At the same time, the struggles of journalists who are not male, white, or heterosexual have been well docu­mented, as have the difficulties of the mainstream press in covering gender, race, and sexual orientation. In the nineteenth century and through most of the twentieth century, journalism was one of the relatively few professions in which a single, divorced, or widowed woman could find work and mar­ried women could earn enough money to take care of themselves and their families. Still, in pop culture, journalism has been portrayed as a particularly difficult career choice for women, who are caught between culture’s “gen­dered” expectations of them as being caring and nurturing and the gendered expectations of journalists as being tough and independent—that is, stereo­typically masculine. The difficulties of ethnic minority and LGBT (lesbian, gay, bisexual, transgender) journalists also have been depicted, with some of the most interesting portrayals having been produced by minority and/ or gay or lesbian authors or directors.
DOI: 10.25549/ijpc-ouc113764828
title: Chapter 3: Difference

description: Chapter 3 looks at difference. Journalists have been criticized for seeing themselves as being different from everyone else—as somehow standing above and beyond the rest of the citizenry. At the same time, the struggles of journalists who are not male, white, or heterosexual have been well docu­mented, as have the difficulties of the mainstream press in covering gender, race, and sexual orientation. In the nineteenth century and through most of the twentieth century, journalism was one of the relatively few professions in which a single, divorced, or widowed woman could find work and mar­ried women could earn enough money to take care of themselves and their families. Still, in pop culture, journalism has been portrayed as a particularly difficult career choice for women, who are caught between culture’s “gen­dered” expectations of them as being caring and nurturing and the gendered expectations of journalists as being tough and independent—that is, stereo­typically masculine. The difficulties of ethnic minority and LGBT (lesbian, gay, bisexual, transgender) journalists also have been depicted, with some of the most interesting portrayals having been produced by minority and/ or gay or lesbian authors or directors.
DOI: 10.25549/ijpc-ouc113764824
title: Chapter 2: Professionalism

description: Professionalism is the subject of chapter 2. Apart from questioning whether journalists are true professionals (or even should be professionals), scholars have been particularly interested in the role of “objectivity” in journalism and in the practice and philosophy behind journalism ethics. In popular culture, so-called objective reporting is shown to be deeply problematic and is often implicitly equated to a lack of passion and commitment. Still, profes­sional values do have a place as ethical dilemmas are brought to dramatic life and journalists who violate the public trust suffer the consequences of their misdeeds.
DOI: 10.25549/ijpc-ouc113764756
title: Chapter 1: History

description: The first field, history, is the focus of chapter 1. Some historians have argued that journalism history too often has served only to celebrate the press rather than providing critical insight into its problems. Pop culture regu­larly depicts journalism’s history through simple, linear, dramatic tales that use the past to speak to the present and that adopt partisan viewpoints on historical issues. It both mythologizes and demythologizes the press, at once celebrating and parodying well-known figures and happenings in journalism’s past. Fictional tales also can offer valuable historical evidence in their own right.
DOI: 10.25549/ijpc-ouc113764754
title: Image of the Journalist in popular culture special promotion and research videos

description: Image of the Journalist in popular culture special promotion and research videos
DOI: 10.25549/ijpc-ouc113764751
title: Image of the Journalist in popular culture special promotion and research videos

description: Image of the Journalist in popular culture special promotion and research videos
DOI: 10.25549/ijpc-ouc113764745
title: The Image of the War Correspondent in Movies and Television, 1939 to 2007

description: The Image of the War Correspondent in Movies and Television, 1931-2007, is a video compilation with 166 movie and television clips tracing the image of the war correspondent in films and television from 1931 to 2007. The Image of the War Correspondent in Movies and TV, 1930s to 1960s – 90 clips – 2:04:00, The Image of the War Correspondent in Movies and TV, 1970s to 2000s – 77 clips – 2:11:00. https://www.ijpc.org/page/ijpc_war_correspondent_video_10.htm
DOI: 10.25549/ijpc-ouc113764743
title: Image of the journalist in popular culture collection, promotion, and research videos

description: The Image of the Washington Journalist in Movies and Television, 1932-2013, is a video compilation with 126 movie and television clips tracing the history of the Washington journalist in the 20th and 21st centuries. The Image of the Public Relations Practitioner in Movies and Television, 1901-2011, is a video compilation with 326 movie and television clips tracing the history of the public relations practitioner in the 20th and 21st centuries. The Image of the Gay Journalist in Movies and Television, 1929-2009, is a video compilation with 123 movie and television clips tracing the history of the gay journalist in the 20th and 21st centuries. Also included is a special supplement on The Image of the Gay Public Relations Practitioner in Movies and Television. 2009. The Image of the War Correspondent in Movies and Television, 1939-2007, is a video compilation with 166 movie and television clips tracing the image of the war correspondent in films and television from 1931 to 2007. Journalism Ethics Goes to the Movies is a one-hour-and-50 minute video compilation created to supplement the book edited by Howard Good. (Rowman & Littlefield, Lanham, MD, 2008). The Image of the Broadcast Journalist in Movies and Television, 1937-2006, is a video compilation containing 200 movie and television clips tracing image of the broadcast journalist in films and television from 1937 to 2006. Real-Life Journalists in Movies and Television, 1931-2007, is a video compilation containing 79 movie and television clips tracing image of the journalist in films and television from 1939 to 2003 featuring real-life journalists or actors portraying real-life journalists or movies based on the lives of real-life journalists. Sob Sisters: The Image of the Female Journalist, 1929-2007, is a video compilation with more than 136 movie and television clips documenting the history of the female journalist in film and television in the 20th and 21st centuries. Hollywood Looks at the News, 1914-2007, video compilation with 165 movie and television clips documenting the history of journalists in film and television in the 20th and 21st century. IJPC special promotion and research videos include:Journalists in the Media – USC Annenberg Research VideoAll the News that Fit to Stream TCM Mini documentaryFake News and the Image of the Journalist in Popular CultureIJPC Research Presentation, 2022Image of the Journalist in Popular Culture Course PromoAEJMC Panel 2015 – Joe Saltzman Tribute involving IJPC, Documentaries.Annenberg Research Seminar – Joe Saltzman Presentation
DOI: 10.25549/ijpc-ouc113764736
title: Image of the journalist in popular culture collection, promotion, and research videos

description: The Image of the Washington Journalist in Movies and Television, 1932-2013, is a video compilation with 126 movie and television clips tracing the history of the Washington journalist in the 20th and 21st centuries. The Image of the Public Relations Practitioner in Movies and Television, 1901-2011, is a video compilation with 326 movie and television clips tracing the history of the public relations practitioner in the 20th and 21st centuries. The Image of the Gay Journalist in Movies and Television, 1929-2009, is a video compilation with 123 movie and television clips tracing the history of the gay journalist in the 20th and 21st centuries. Also included is a special supplement on The Image of the Gay Public Relations Practitioner in Movies and Television. 2009. The Image of the War Correspondent in Movies and Television, 1939-2007, is a video compilation with 166 movie and television clips tracing the image of the war correspondent in films and television from 1931 to 2007. Journalism Ethics Goes to the Movies is a one-hour-and-50 minute video compilation created to supplement the book edited by Howard Good. (Rowman & Littlefield, Lanham, MD, 2008). The Image of the Broadcast Journalist in Movies and Television, 1937-2006, is a video compilation containing 200 movie and television clips tracing image of the broadcast journalist in films and television from 1937 to 2006. Real-Life Journalists in Movies and Television, 1931-2007, is a video compilation containing 79 movie and television clips tracing image of the journalist in films and television from 1939 to 2003 featuring real-life journalists or actors portraying real-life journalists or movies based on the lives of real-life journalists. Sob Sisters: The Image of the Female Journalist, 1929-2007, is a video compilation with more than 136 movie and television clips documenting the history of the female journalist in film and television in the 20th and 21st centuries. Hollywood Looks at the News, 1914-2007, video compilation with 165 movie and television clips documenting the history of journalists in film and television in the 20th and 21st century. IJPC special promotion and research videos include:Journalists in the Media – USC Annenberg Research VideoAll the News that Fit to Stream TCM Mini documentaryFake News and the Image of the Journalist in Popular CultureIJPC Research Presentation, 2022Image of the Journalist in Popular Culture Course PromoAEJMC Panel 2015 – Joe Saltzman Tribute involving IJPC, Documentaries.Annenberg Research Seminar – Joe Saltzman Presentation
DOI: 10.25549/ijpc-ouc113764730
title: The Image of the War Correspondent in Movies and Television, 1939 to 2007

description: The Image of the War Correspondent in Movies and Television, 1931-2007, is a video compilation with 166 movie and television clips tracing the image of the war correspondent in films and television from 1931 to 2007. The Image of the War Correspondent in Movies and TV, 1930s to 1960s – 90 clips – 2:04:00, The Image of the War Correspondent in Movies and TV, 1970s to 2000s – 77 clips – 2:11:00. https://www.ijpc.org/page/ijpc_war_correspondent_video_10.htm
DOI: 10.25549/ijpc-ouc113766208
title: Journalism ethics goes to the movies

description: IJPC Journalism Ethics Goes to the Movies companion videos follow the book of the same name by Howard Good (Rowman & Littlefield, Lanham, MD, 2008) chapter by chapter. The book’s 12 chapters explore issues that should concern anyone who aspires to a career in journalism, works in journalism or relies on journalism for daily information. The contributors do their exploring at the movies where sportswriters, war correspondents, investigative reporters, crime reporters, spin-doctors, TV anchors and harried city editors jostle for attention.
DOI: 10.25549/ijpc-ouc113766206
title: Journalism ethics goes to the movies

description: IJPC Journalism Ethics Goes to the Movies companion videos follow the book of the same name by Howard Good (Rowman & Littlefield, Lanham, MD, 2008) chapter by chapter. The book’s 12 chapters explore issues that should concern anyone who aspires to a career in journalism, works in journalism or relies on journalism for daily information. The contributors do their exploring at the movies where sportswriters, war correspondents, investigative reporters, crime reporters, spin-doctors, TV anchors and harried city editors jostle for attention.
DOI: 10.25549/ijpc-ouc113765457
title: 4. Gossip - Early tabloid journalism

description: 4. Gossip - Early tabloid journalism (Spring 2023 Lecture 4 Monday)
DOI: 10.25549/ijpc-ouc113765296
title: Heroes and Scoundrels supplementary videos

description: Heroes and Scoundrels supplementary videos
DOI: 10.25549/ijpc-ouc113765291
title: Heroes and Scoundrels supplementary videos

description: Heroes and Scoundrels supplementary videos
DOI: 10.25549/ijpc-ouc113765265
title: Conclusion: The Future

description: Finally, in our conclusion we examine how popular culture has looked at the future of journalism, which itself has been hotly debated by journalism scholars. Speculative fiction points toward a press that perseveres regard­less of what else may occur—useful to keep in mind as the press confronts the many challenges of today and the years to come. That is one more reason why we believe that studying the image of the journalist in popular culture is important work. Pop culture’s stories illustrate our expectations and our apprehensions regarding the press and its relationship to democracy. The task for scholars is to listen carefully to what those stories say, help decipher them for others, and remember why they matter.
DOI: 10.25549/ijpc-ouc113765262
title: Chapter 6: War

description: Chapter 6 looks at war. The coverage of war has been considered one of the most important and challenging tasks for the press. Popular culture shows the journalist serving as either a necessary witness and voice of conscience in reporting on global conflict or a sensation seeker and propagandist. Much as in real life, war correspondents in popular culture must answer the ques­tions of whose side they are on and what personal price they are willing to pay in order to report the truth.
DOI: 10.25549/ijpc-ouc113765204
title: Chapter 6: War

description: Chapter 6 looks at war. The coverage of war has been considered one of the most important and challenging tasks for the press. Popular culture shows the journalist serving as either a necessary witness and voice of conscience in reporting on global conflict or a sensation seeker and propagandist. Much as in real life, war correspondents in popular culture must answer the ques­tions of whose side they are on and what personal price they are willing to pay in order to report the truth.