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MediaGuardian: British Press Awards results

The Guardian has the full results from last night’s British Press Awards: the Telegraph took the big one, for newspaper of the year, while the Guardian’s Paul Lewis walked away with reporter of the year. Overall, the Telegraph won six prizes for its expenses story, including journalist of the year for its editor Will Lewis.

Heather Brooke got acknowledgement for her role in the expenses exposé, with a judge’s award. The Guardian reports:

The judges’s award went to freelance journalist and freedom of information campaigner Heather Brooke whose tireless campaigning did so much to keep the story in the public eye. She praised the Telegraph for doing a brilliant job but appealed to Fleet Street to be more co-operative on major stories.

“I don’t begrudge the Telegraph and I hope they don’t begrudge me. The fact is I’m fucking proud,” she said.

Full story at this link…

There’s a Guardian Twitter liveblog too, if you want to catch up with it as it happened.

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#Tip of the day from Journalism.co.uk – easy screengrabs and links

March 24th, 2010 | No Comments | Posted by in Top tips for journalists

Aggregation: clp.ly lets you save screengrabs, links and quotes from webpages, which can be used in your reports. Attribution and links back to the source are provided and the screengrab function provides an interesting visual. Tipster: Laura Oliver.

To submit a tip to Journalism.co.uk, use this link – we will pay a fiver for the best ones published.

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Brighton Future of News: telling the election straight

Freelance journalist John Keenan reports from last night’s Brighton Future of News meetup. This post originally appeared on his blog.

As the general election lumbers ineluctably into view, householders across the United Kingdom must brace themselves for an avalanche of political leaflets. But hold on a minute before you bin the bumf.

According Richard Pope, web designer and political provocateur, there is a mine of unintended information in the annoying pamphlets littering your doormat. Pope told the meeting of the Brighton Future of News Group (BFONG) at the Skiff last night that careful monitoring of such material can prevent politicians getting away with murder.

Pope’s election leaflet project, The Straight Choice, is an attempt to turn the propaganda back on the spin doctors. He outlined a number of ways that journalists (and by implication any engaged citizen) can use leaflets to dig out inconvenient truths. Among these were:

  • Track down ‘fake supporters’. Pope highlighted how a supposed group of British National Party members featured in one leaflet were, in fact, a group of Italian models whose photo the BNP had lifted from another source.
  • Follow the money. A close reading of the small print detailing where the leaflet was printed can lead you to often surprising information about political donors.
  • Spot the spoof: in a desperate attempt to snare your attention, the parties will dress up their dreary slogans as gossip magazine fodder. And you thought photos of celebs in front of their mantelpieces were dodgy – you ain’t seen nothing yet.
  • Capture the contradictions. We all know that politicians of every stripe will promise the moon in order to get elected. But they trust us to forget about their lunar pledges as soon as we have tossed aside the handbill. Pope’s website aims to keep them on message and under the microscope.
  • Splat the stats. It is amusing and instructive to compare the surreal use of statistics as politicians play the numbers game to support any policy they choose.

Pope was candid over his desire to see a party official lose a job over a gaffe highlighted by his website. A more measured ambition is to improve the quality of political debate – moving it away from gratuitous character attacks to sensible arguments over policy.

Don’t fret, however, if you are not deluged with leaflets in the coming weeks; this simply means that you live in an area where a donkey with the right rosette would find itself in Westminster.

As Dan Wilson, who is campaigning for Nancy Platts in the Brighton Pavilion constituency, told the meeting, the prime purpose of leafleting is to gather names and addresses of each party’s supporters so they can get the vote out on the day. “I’m not convinced that the Argus wields political influence,” he said, sucking the air out of the room.

Brighton Future of News group was founded by Journalism.co.uk’s Judith Townend and journalist/blogger Sarah Booker. Find out more at this link. You can see tweets from last night at this link.

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#ds10: Ultraknowledge – search and visualising the news

March 23rd, 2010 | 1 Comment | Posted by in Events, Search

Why does search have to produce the same set of results that we always get?

One of Andrew Lyons’, commercial director of Ultraknowledge (UKn), opening questions at the Digital Storytelling conference last week as he talked delegates through UKn’s work with the Independent.

The Independent’s NewsWall, launched in January, is a new way of organising stories and navigating through them. It provides a “visual documentation” of a topic and what’s happened in that subject area. (Similar efforts are being made by Daylife’s technology and the Guardian’s News Zeitgeist.

When searched, the wall will return 30 picture-led stories as results, and figures for dwell time on the wall are proving interesting, said Lyons.

The next part will be the ability to save my search for a topic to my Facebook page and then only have it update when it’s relevant to me.

UKn can now start to produce sponsored NewsWalls around events such as the forthcoming World Cup or general election. It will also be opening up the archive of content available through the Independent’s NewsWall from two years to the full 23 years of its history.

UKn has already worked with other publishers to create more intelligent and visually organised search results pages, such as those produced by an initial search on Metro.co.uk.

But the firm wants to take this a step further, by helping news organisations build topic pages for breaking news items by cleverly tagging and organising archived work, and through its latest – and yet-to-be launched project – StoryTriggers – a way to help journalists and news organisations find new leads and spot breaking news trends.

Sometimes the story that you’re after isn’t on your beat, so how do you find it. But when you’re dealing with news its changing, fast – how do you SEO for this? How do you tag it and relate it to what’s happened in the past and what’s happening in the future? (…) We want to be an innovation lab for publishers.

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What does it take to get a front page apology?

One of the points of confusion and controversy in the Press Complaints Commission code for newspapers is that:

ii) A significant inaccuracy, misleading statement or distortion once recognised must be corrected, promptly and with due prominence, and – where appropriate – an apology published.

Furthermore, the editors’ codebook states:

“the positioning of apologies or corrections should generally reflect the seriousness of the error – and that would include front page apologies where appropriate.”

(my emphasis)

This was an issue raised in front of the House of Commons select committee in Feburary last year: that the apologies offered were inadequate for the mistakes made.

Jonathan Coad, head of the litigation group at Swan Turton Solicitors showed the House of Commons Culture, Media and Sport Committee a copy of the Daily Star carrying front page allegations about Peaches Geldof’s sexual behaviour. Following complaints against the article, a correction was made which was 2.6 per cent of the size of the original article and appeared on page two of the newspaper, he said.

“The newspaper agreed – as they could do no other – that the story was inaccurate but what they wouldn’t do was put the correction on the front page,” said Coad. Corrections favour newspaper groups rather than a complainant or the general public, he added. The PCC is in “favour of those who set it up in the first place,” he said.

But the PCC maintains that a system is in place. When I interviewed the director of the PCC, Stephen Abell in February this year, he said that the length and terms of adjudications already change:

[The PCC] can control how much the newspaper has to print by the length of its own adjudication. I think the process is already in place.

(Update: In the comments below, the PCC emphasises this comment was made in regards to ‘adjudications’ not specifically ‘apologies’)

When the select committee published its recommendations last month it said: “The interpretation of the Code’s requirement for an apology to be printed with ‘due  prominence’ remains a matter of controversy”.

In oral evidence to us, the then Minister Barbara Follett acknowledged that the placing of apologies was a problem: “From my own personal experience, the offence can be on page two in large type and the apology basically somewhere around the ads in very small type, and that is something which I would like to see changed.”

The committee recommended:

The printing of corrections and apologies should be consistent and needs to reflect the prominence of the first reference to the original article. Corrections and apologies should be printed on either an earlier, or the same, page as that first reference, although they need not be the same size. Newspapers should notify the PCC in advance of the proposed location and size of a correction or apology; if the PCC indicates that the requirement for ‘due prominence’ has not been fulfilled and the paper takes no remedial action, then this non-compliance should be noted as part of the published text of the correction or apology. We recommend that this should be written into clause one of the PCC Code.

So, under the guidance of the select committee, we could see a strengthened apology and correction system come into play (the PCC is considering its recommendations at the next meeting of the Commission).

Could this mean more front page apologies in the UK? We might look to the US for encouragement.

Tabloid Watch and Regret the Error recently noted that Indiana’s Star Press newspaper went the extra mile with a detailed apology on its front page, correcting a mistake about Ball State athletic director Tom Collins and his employment intentions. I contacted its author, sports editor Greg Fallon, to find out why the decision had been taken.

“We felt that a typical correction buried inside the newspaper or a story on the sports front would not sufficiently set the record straight,” Fallon said.

“Beyond that, I’ll just say that we were not only sorry to Tom Collins for the error and wanted to correct it, but we also owed an explanation to our readers on how, exactly, the error happened.

“That transparency, we feel, strengthens the relationship between reader and newspaper. In the end, we were able to explain it all best in a column.”

Wow. I’m with Tabloid Watch on this one: “It’s almost impossible to imagine a British newspaper – particularly a national – writing something such as this on their front page. And yet, why shouldn’t they?”

But what a cultural shift we’d need to see this happen. Newspapers might not be holding the front page quite yet, but they should take heed from the Geldof vs Daily Star case.

As the Guardian reported in January 2010, Geldof, represented by Jonathan Coad, was unsatisfied with the PCC ruling and 2.6 per cent apology on page 2 and took the matter to court. The Daily Star was forced to pay (undisclosed) substantial damages and legal costs:

“The defendant refused to publish a retraction and apology on its front page but instead published it on page two,” said Coad.

“As the publication was substantially smaller, the claimant considered this to be unacceptable as it was not, in her view, adequately prominent.

“The Press Complaints Commission adjudicated upon the prominence and found it to be proportionate.

“It is for this reason that the claimant now wishes to make this statement in open court to make the falsity of this allegation a matter of public record.”

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#ds10: Blinked.tv – the emphasis is on live video and audio

March 23rd, 2010 | No Comments | Posted by in Events, Mobile, Multimedia

Last week technology firm Blinked.TV demoed its mobile phone app for livestreaming audio and video to delegates at the Digital Storytelling conference (#ds10).

[Disclaimer: Blinked.TV was a sponsor of Journalism.co.uk's news:rewired conference in January]

The app, which will soon be available for iPhone users, lest you record and stream audio and video, and send text updates. Users can create channels archiving this multimedia content and different permissions, which can be embedded in their sites. Users can also switch between broadcast, audio and text modes without losing connection to a server during the stream, said co-founder Andrew Cadman.

The problem that digital journalists have is constantly swapping between applications to do multimedia work. Switching between applications is time lost.

The app’s interface is illustrated in this roughly-shot video below:

According to founder Andrew Cadman the app allows for “digital storytelling with a single broadcast” – an important part of this is the metadata attached to each piece of material. By itself a broadcast won’t tell a story, said Cadman, but with captions and location data attached to it, it can. The app also allows for multiple users to contribute to the same channel from different handsets and locations.

Providing high-quality livestreaming is the company’s ultimate aim – current 95 per cent of content uploaded via the Blinked.TV site is streamed live, said Cadman. Blinked.TV will also be trialled by a big UK media group in the next few months and is looking a charging larger companies for use of its embedded channels or charging on a bandwidth use basis.

Competition

As part of the Digital Storytelling event, Blinked.TV is running a competition offering prizes of £350 for the best individual and best team broadcast produced using the application. The deadline for entries, which will be judged by Blinked and digital journalism collaborative not on the wires, who organised the event, is 3 May.

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From the frontline: how ‘true’ is the media’s picture of Afghanistan?

March 23rd, 2010 | 1 Comment | Posted by in Events, Press freedom and ethics

Journalists gathered to discuss the British media’s coverage of the war in Afghanistan at last week’s video conference at Coventry University.

The ‘Afghanistan – are we embedding the truth?’ event, chaired by the editor of the BBC College of Journalism, Kevin Marsh, brought journalists such as Vaughan Smith and Stuart Ramsay together with academics Richard Keeble and Tim Luckhurst, and the Ministry of Defence’s head of Operational Communication, Brigadier Mark van der Lande.

Vaughan Smith offered what was perhaps the most troubling thought: “Sports journalist knows more about sports than war correspondents know about war, and that is a cultural problem”.

Vaughan, a news pioneer and independent video journalist who has in the past managed to disguise and bluff his way into an active duty unit to shoot uncontrolled footage of the Gulf war, also held up two photographs as part of his speech; one of Hiroshima’s mushroom cloud, and another of an injured civilian in Nagasaki.

He used these photographs as evidence to explain that you never see enough of the second type, showing the injured and other devastating side effects. Instead, the audience is shown ‘Bang Bang’ images; “a fundamental problem,” he said.

Jonathan Marcus, BBC’s diplomatic correspondent, had a mixed response to the event’s theme: “I think it’s a pointless question, we are embedding some truth, and the truth is very complex. War through a keyhole is what war correspondents are giving you.”

Nonetheless, he doesn’t think that embedding is bad practice, when taken as a whole: “If you put all these keyholes together, you start to form a bigger picture and understand what is going on.”

“However, it is a problem that paradoxically, with advances in technology and globalisation, we can do a lot more. Yet, we are reporting less than we used to,” he said.

Brigadier Mark van der Lande argued that they don’t instantly show casualty because they have a duty to inform next of kin first. “We are not hiding things for the cost of war; we are looking out for individuals,” he said.

It is difficult for the MoD, he said, because the ‘Bang Bang’ is what the audience and the media in general is interested in.  Most of the time the more important things that the military look into aren’t released simply because “it is of less interest to the media and the audience,” he argued.

The media do, to a certain extent, manufacture stories, agreed Tim Luckhurst, a Professor of Journalism at the University of Kent, but it is not because of dishonesty, it’s because “we simply cannot stay away from the impact kinetic stories get; embedded journalism serves the needs of the state.

“We do not see humanitarianism or suffering children because it bears no relevance to the needs of the states.”

“Views of the military and government do not comply with journalists’ views, and today’s conference has revealed the extent of that fact.”

Robert Williams is a student at Coventry University.

Read more here, over at Daniel Bennett’s blog, including detail of the video contribution from Channel 4 News’ Alex Thomson.


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MinnPost: WCCO TV’s ‘The Wire’ lets audience in on the story

Minneapolis-based television station WCCO TV has launched a new interactive, online news feature allowing its audience to participate in stories. The Wire was previewed last October, and is now online in beta.

Here’s how it works: A WCCO reporter or staffer kicks off a story in the timeline. As the story unfolds, updates are done, but where it gets interesting is this: We — formerly known as the audience but geared to be highly participative in today’s online world — are able to submit relevant perspective, information and media we capture digitally and report on the story!

Full story at this link…

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New York Times launches behind-the-scenes video feature

The New York Times has launched a new daily video feature on NYTimes.com.

TimesCast, which is available on the newspaper’s homepage between 1:00pm and 2:00pm EST Monday to Friday, falls somewhere between an ordinary television news broadcast and a short behind-the-scenes documentary. Viewers see segments of the daily page one meeting, followed by various reporters and editors in conversation about stories they are working on.

Previous days’ episodes will be available via the Times’ online video section.

Follow this link to see the first TimesCast episode in full.

“This is another example of our continuing emphasis on video, which represents one of the largest growth areas in digital media,” said Denise Warren, senior vice president and chief advertising officer, The New York Times Media Group and general manager, NYTimes.com.

Last December the Times launched TimesSkimmer, a new format for organising online content that allows users greater control over layout.

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AP photographer’s iPhone gallery from Afghanistan

March 23rd, 2010 | No Comments | Posted by in Photography

Associated Press photographer David Guttenfelder has produced a stunning gallery of shots covering US military operations in Afghanistan’s Helmand Province using his iPhone and a Polaroid film filter app.

“I was trying to take pictures that would be similar to those rough, keepsake photos that marines might make for themselves,” explains Guttenfelder in an audio clip.

Full slideshow at this link…

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