By Bethami A. Dobkin
Traditional examine means that information assurance of terrorism is a device of the terrorist to realize public aid and popularity. in keeping with an research of greater than 2 hundred night newscasts aired through the first six years of the Reagan management, stories of Terror bargains an in depth account of the ways that information media amplify public panic approximately terrorism and inspire help for particular U.S. coverage targets, instead of construct sympathy for terrorists. Bethami Dobkin explores similarities among information media and executive portrayals of terrorism, combining textual feedback with an interpretation of respectable U.S. coverage statements, and argues that govt depictions and information shows of terrorism reproduce an ideology that helps army energy and intervention. Dobkin examines numerous particular positive aspects of reports assurance: the dramatic structure of tv information and the political pursuits that this layout serves; the narrative building of enemies via tv newshounds and public officers and the political importance of the "terrorist" label; the use and value of testimony, really that of individuals plagued by concern; the mutual exploitation of political concern by way of either tv information manufacturers and public officers; the functionality of journalism in shaping the behavior of public international relations and public perceptions of overseas clash; and the construction of consensus in regards to the desire for army responses to political violence. This revealing learn could be of specific curiosity to students of communications and political technological know-how.
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Additional info for Tales of Terror: Television News and the Construction of the Terrorist Threat (Media and Society Series)
Sample text
But news stories become meaningful through the composition of dramatic elements. Narratives “make news more interesting, even compelling, through dramatic representation; narrative forms, as Kenneth Burke observed, arouse and then satisfy expectations” (Cornfield, 1988, p. 182). Several features of the news narrative contribute to the creation of drama. For a narrative to be credible, the narrator must command authority. The anchor accomplishes this by standing at the center of events, moving the story along “according to some larger pattern of meaning.
1). Additionally, press bias tends to run in favor of official stands against terrorism. Schlesinger (1981) summarizes that “the orthodox view of the media as ‘willing victims’ of the terrorists . . fails to attend to how the media routinely deny the rationality of anti-state political violence and how in some circumstances they invoke the sacred dimension of nationhood to ward off subversive evil” (p. 96). The Television Terrorist • 21 Schlesinger’s and Gerbner’s claims deserve further empirical support.
299). The tales the anchor narrates are built around themes of overt action that celebrate conquest over evil. When a problem arises, the protagonist and a few other supporting characters take some form of action to solve the problem. Sperry (1981, p. 301) explains this standard plot form: The world at peace is disrupted by some event (say, an act of terrorism). That event, which becomes the evil, is named and, if possible, analyzed and understood. It is then attacked by some leader, the hero figure, often a representative of the people.
