The Exotic Life of a Foreign Correspondent

2021 ◽  
pp. 75-83
2016 ◽  
Vol 22 (2) ◽  
pp. 203
Author(s):  
Philip Leslie Cass

IN HIS memoirs of his life as a foreign correspondent, British journalist Richard Beeston recalled: "We went to wars and revolutions in our drip-dry suits and button-down shirts— armed with a note book and an Olivetti portable typewriter. For us there were no steel helmets, flak jackets and armour plated cars...in those more innocent days we somehow managed an amateur and neutral status and were unlikely to become the target of hostage-takers or the victims of religious fanatics. The twenty-first century is a more dangerous time." (Beeston, 2006)


2020 ◽  
pp. 96-119
Author(s):  
Dan Callahan

Hitchcock guided the inexperienced Joan Fontaine through his first American film, Rebecca (1940), going to great lengths to get her into the mood she needed to be in, and he also inspired and controlled a major performance by Judith Anderson as the vengeful housekeeper Mrs. Danvers while allowing Laurence Olivier to give a merely external performance as the male lead. In the work of Fontaine, Anderson, and Olivier, Rebecca penetratingly surveys different styles of acting, favoring Fontaine but finally letting Anderson dominate with work where she is “doing nothing well” on the surface but with clearly contrasting emotions battling underneath the mask of her face. The Master was mainly let down by the actors in Foreign Correspondent (1940), but he brought out dark undercurrents in the expert comic performances of Carole Lombard and Robert Montgomery in Mr. and Mrs. Smith (1941). Hitchcock used Cary Grant for the first time in Suspicion (1941) as a sexy, irresponsible playboy who may or may not be murderous, and he reveled in Grant’s ability to do or say one thing ambiguously enough to suggest another thing at the same moment.


Author(s):  
Chris Paterson

The role of foreign correspondent has long been prominent in journalism but is undergoing considerable change. While many in this role are considered elite, and have a very high profile, others practice their reporting in anonymous and sometimes precarious conditions. Prominent types of foreign correspondent are the capital correspondent, bureau chief, and conflict correspondent. Conflict correspondents can, in turn, be categorized into three main types depending on how they perceive their role: the propagandist; the recorder of history; and the moralist. The role of foreign correspondent has been the subject of a great deal of research, including analyses of news content focused on the nature of bias and story selection and framing in international reporting, and observational and interview-based studies of practitioners of the role. Research has sought to shift the focus from elite correspondents for international media organizations to the myriad local media professionals who play an increasing role in shaping international news stories; to the move toward social media as a newsgathering and news-dissemination tool; to the safety of journalists—as their work becomes increasingly imperiled around the world; and to the vital but largely hidden role of news agencies in shaping international news.


1983 ◽  
Vol 17 (3) ◽  
pp. 353-386
Author(s):  
Paul R. Greenough

For nearly 100 years the Indian Congress organization has flourished in and through the press. Of the 72 representatives who gathered in Bombay at the first Congress meeting in 1885, more than a dozen were professional journalists. Not only did the early and subsequent nationalist leaders collect news for, editorialize in, or own outright, important vernacular and English-language newspapers—one thinks of, among others, Tilak's Kesari, Surendranath Banerjea's Bengalee, Motilal Nehru's Leader and Mahatma Gandhi's Young India and Harijan—but they readily submitted themselves to the curious, often naive probings of foreign correspondents from Europe and America. It was Gandhi who taught the Congress both how to spin its cotton and how, when it served a purpose, to wash its linen in public. Jawaharlal Nehru, when prime minister, brought to a high art the interview granted to the favored Indian or foreign correspondent.


2017 ◽  
Vol 19 (3) ◽  
pp. 177-236
Author(s):  
Kevin L. Stoker

This study analyzes the behind-the-scenes correspondence, from 1928 to 1941, between the New York Times’ news executives and editors and John W. White, who served as the paper’s first Chief South American Correspondent. An analysis of the correspondence and White’s dispatches shows that interactions between news management, foreign governments, and the U.S. State Department influenced White’s writing to the point that he avoided writing about Argentina’s neighbors; provided more positive, “Pollyanna” material; and censored his own dispatches. The study provides further evidence that Arthur Hays Sulzberger meddled in the paper’s news coverage, even before he became Times publisher in 1935. The correspondence between Sulzberger and White also calls into question the romantic myth of the autonomous foreign correspondent, free to report without fear or favor. Instead, it shows that American foreign correspondents faced scrutiny not only from their news executives and editors but also from foreign governments, police officials, local newspapers, Nazi and Fascist spies, U.S. business interests, the State Department, and even the President of the United States.


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