Your passions and obsessions are valuable, they are what make for good writing. We want to hear know more about them. Think big, but also think concretely: What particular works or authors have inspired you and your project? What journalistic forms could you imagine it taking? What models do you have in mind? Projects can be local, national, or international in scope. But since much of your reporting will be done while in residence at nyu, your project should have some kind of a nyc dimension. Some students divide their time between their final international or national project and its local iterations.
Audio, reportage - nyu journalism
Perhaps you will become a participant-observer in order to tell the inside story. Or maybe you have a strong personal connection to your story, and choose to fashion it as a kind of memoir. Or maybe your advantage will come from the intensive research you do, whether in government archives or libraries. We embrace all forms of nonfiction. But Literary reportage distinguishes itself from other programs by stressing the value of examining personal experience through the reporting and research that comes from the world outside ones head. That way, when you sit down to fashion your narrative, youll have a richer set of materials to work with, and a greater chance writers of publishing your work in professional venues, whether while at nyu or beyond. The literary reportage faculty and alumni network will introduce you to editors at every publication imaginable. So far, the program has produced five books, each of which came directly out of the participants final thesis. How do you apply? You will submit a sample of your existing work (articles, blogs, videos, podcasts, essayspublished or not and a description of the kind of project you want to pursue while at nyu.
Prospective applicants, please read this letter from Lit Rep Program Director Robert boynton. Read the letter about the Program, journalism schools produce good reporters; mfa programs train beautiful writers. In Literary reportage, we combine the best of both. We will teach you how to transform your passions into well reported, thoroughly researched, beautifully expressed journalism. Literary reportage students pursue their own long form projects, mentored by veteran writers in reporting classes, literature seminars, writing workshops and master classes taught by working editors. Well teach you how to do what Tom Wolfe once termed stylish reporting, how to master the art of the interview, and then go father's beyond. We have a much more expansive conception of reporting than other programs. Literary reportage students cover every subject imaginable: a meditation on the nature of trails; an exploration of the underground world; an investigation of the political and real estate corruption behind the construction of Yankee stadium; the search for a new York writer who vanished half.
That makes me optimistic that well see more polish reportage in translation. Nonfiction is arguably the strongest writing coming out of Poland book right now. And while polish literature is often inward-looking—focusing on Polish identity and history in a way that can seem parochial to Anglophone readers—Polish reportage is outward-looking, drawing on the polish tradition of travel, exile, and diaspora to explore every paper corner of the globe. These journalists are all hugely exciting writers, and I hope to see more and more of their work published in English. Published Jan 30, 2014 Copyright 2014. Close modal, you do not currently have access to this content. Don't already have an account? Register, sign in via your Institution, sign.
A smoleński piece i recently translated for. Continents magazine is about a female Iraqi kurdish guerrilla who survived Saddams gas attacks, escaped to Afghanistan, was resettled in the soviet Union and then in Sweden, and finally made her way back to kurdistan—all with a husband and children in tow. Like shakirs, her story isnt about facts and dates, but rather giving the reader a completely new perspective that allows us to relate to a distant country. Smoleński and other Polish reportage writers blur the lines between literature and journalism: being true to subjects memories or feelings is often viewed as more important than being true to the facts. For many journalists this raises serious questions about journalistic ethics, and indeed Kapuścińskis biographer has found he had exaggerated or made up some details in his books for the sake of a better story. This style is catching on, though, including in the Anglophone world. Nothing to Envy, based on interviews with North Korean refugees, and Ari Shavits recent bestselling history of Israel, my promised Land, were both written in English in a style strongly reminiscent of the best Polish reportage writers: focused more on personal stories than dates and.
News - nyu journalism
But he does so through Shakirs unusual personal story, allowing the malayalam reader to form a deeper, more human connection with the faraway nation of Kurdistan. This personal perspective and human connection is the main characteristic of Polish reportage as a genre, and is at the heart of what makes it some of the most exciting literature coming out of Poland today. Ryszard Kapuściński —for many years the only foreign correspondent of the polish Press Agency, and a prolific author from the late 1960s until his death in 2007—pioneered this literary style of journalism, inspiring the generations of Polish journalists who followed him, as well as readers. Smoleński and his contemporaries—. Mariusz szczygiel, jacek hugo-bader, witold szabłowski, and others—all work in the shadow of Kapuściński and seek to live up to his legacy. Gazeta wyborcza is the main outlet for Polish reportage writers, but full-length reportage books are very popular, with specialist publishers, bookstores, and a reportage Institute providing support for literary nonfiction in Poland. For a translator, polish reportage is often deceptively simple.
Its quick-paced, with a clipped writing style full of short, sometimes incomplete sentences that can be difficult to render in English. It changes tense suddenly, sometimes shifting into the present when the action gets exciting. And since journalists are often not great stylists, its not rare to run into sentences that are slightly ambiguous or unclear under close examination. Smoleński is no exception to that, but what makes his writing exciting is his ear for human stories. In his books, historical events and broader geopolitical circumstances are always addressed through the views and day-to-day lives of the people he meets on his travels.
This profound naiveté is basically due to two reasons. Firstly, we lack knowledge of the world in all its diversity, its cultures, its religions, its languages, its traditions, and mentalities. Secondly, we are also accustomed to a sometimes simple-minded manner of classifying the world: "The Islamic world "good and evil, etc. If it is true that our world will not be unified automatically through globalization; if it is also true that the major conflicts of our times will certainly not be solved through a "Clash of civilizations it follows then that we need a deeper, more. The world requires a "Politics of Curiosity" which will contribute to genuine "Dialogues of civilizations.". Reportage writers, with their immersion in the subject, bring unknown, hidden or forgotten realities and intricacies to light.
By witnessing with their own eyes and collecting and consolidating a mass of information, in forming a picture of the whole, the reportage writer can deliver a greater degree of accuracy than is generally possible with other media formats. This is what gives reportage writing its significance and authority. Reportage writing, however, is not limited to merely documenting events. The combination of reportage with the techniques and subjects of literature allows for the creation of complexity, density, depth and multiple layers. In the field of reportage, creative nonfiction makes use of literary writing by taking advantage of its refinement of composition and its devices of introspection, interior monologue, dialogue, and polyphony. Literary reportage can draw on the visual arts, using changes of perspective, tempo and mood, cuts and montages, and it can make use of metaphors, parables, and allegories. Thus, reportage can be transformed into an artthe Art of Reportage. Paweł smoleńskis, painting the Occupation is a great example of what I love about Polish literary reportage. Through the story of Suleiman Shakir, a famous Kurdish painter who was persecuted under Saddam Hussein, Smoleński addresses themes of freedom of expression, political oppression, and the recent history of the kurds in Iraq.
Religion journalism Program - nyu journalism
In terms of summary market and finance, technology and media, or mass culture and tourism, the process of globalization seems to be irreversible. This process creates a complex matrix of relations. Paradoxically, the ruling rhetoric of globalization is often characterized by a critical oversimplification of reality and claims that a homogeneous world will emerge following the imperatives of development. The power of simplified versions of events upon our thinking explains why we are frequently confronted with bolts from the blue. Massacre in Rwanda Collapse of the soviet Union Fall of the wall War in Yugoslavia Fundamentalist attacks in Algeria Afghanistan September 11th unremittingly, unexpected and powerful historical events spring upon the world stage. And nearly no one saw it coming. How could this have happened? Later, we have to sort it all out. And sometimes choose between war and peace.
In this context, language has deteriorated into a mere auxiliary element, accompanying review the image content. In tv, it is the image flow which defines the length and speed of the text. Images may not last longer than a few seconds, and texts should not be long or complicated. We are exposed to an overwhelming flood of images which trigger powerful sensations. We have to adapt ourselves to the speed of the image flow. Thus, tv diminishes the viewers habit of, and capacity for concentration, manifesting itself in short attention spans. However, life as a world citizen, on a planet with diverse interdependencies of increasing complexity, demands much more. This world requires many competencies of people: to integrate diversity, to comprehend heterogeneity, to reconcile different layers of information, to interpret context, and to appreciate historical background.
to deliver a depiction of events that the reader couldn't experience personally. The journalist was a substitute eye-witness. Consequently, his role was to stimulate the readers imagination, evoking a complete, multifaceted, and lively image of the events reported. Later, photography entered the realm of delivering representations of real life in accompanying written journalism. Subsequently, photography gained a journalistic value of its own, ranging from serious photo-reportage to sensationalist photo-journalism. Meanwhile, we are witnessing a process of historical change in the field of journalism. The function of delivering representational images of distant situations has been widely passed on to television, whose influence is prevailing over written journalism. Today, audiovisual media has become a powerful and dominant force, and images seem to have become synonymous with authentic reporting.
Furthermore, it is compelled to use a language appropriate for the busy and undiscerning reader. As a result, it can hardly avoid providing stereotyped interpretations of reality. Literature, on the other hand, is born of imagination, invention, and fantasy. Literature type need not be directly related to real life. Its protagonists exist in a fictional sphere. Literature embraces images, metaphors and allegories, and is nourished by the poetic impact of language. Literature can use cuts and montages like a film. Literature draws energy through condensation. Literature touches dimensions of actuality which journalism avoidssuch as psychology, visions and introspection, emotion and imaginary realityand is sensitive to the effects of geography on human modes, behaviors, and traditions.
How to Apply - nyu journalism
The genre of literary reportage is situated between journalism and literature. It has in common with journalism its relation to actuality. Reportage refers to cultural and social reality, past developments, and current affairs. Good journalism interprets events by contextualizing remote elements such as historical background and causality, presenting readers with material for a more enlightened interpretation of world affairs. The imperatives of mass media, their standardized patterns, their competitiveness, their permanent quest for the latest sensation, and their view of information as a commodity, impose tight limitations on the journalist's radius of action. Journalism often has to isolate facts and events, sensationalizing and glamorizing them through personification. Likewise, much of todays journalism oversimplifies complex situations and their backgrounds, favoring a trivial and partial understanding.