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"Gender is just a single aspect of our humanity, yet it has a tremendous effect on the people working in journalism; the subjects and framing of the stories they tell; and ultimately the people who consume those stories. Alongside histories of equal rights and feminist movements, this textbook explores a broad spectrum of gender, race, class, and sexuality including the experiences of men and LGBTQ communities"--

Playing with Fire -- Images of Discipline -- Walks of Shame -- Spectacular Trials -- What Picture Would They Use? -- What's So Special About Video? -- Filming Police -- Police and Image Maintenance -- Everyday Racism and Rudeness -- Playing (Safely) With Fire.

News organizations are turning increasingly to video journalism as survival strategy in the era of convergence. Video journalism, the process by which one person shoots, writes, and edits video stories, represents both a socially and materially constructed form of news and adds a new dimension to daily work practices. This qualitative project examines the daily work practices of video journalists in a variety of organizational settings, including newspapers and television stations. This project found that the material requirements of video journalism have the potential to shift control of some aspects of news narrative away from journalists and toward their sources.

Camera pools and video feed systems allow news institutions to receive video imagery with greater efficiency and lower costs. Such arrangements are frequently managed and negotiated through politically engaged institutions. The resulting video is transmitted and traded with the underlying assumption that images are discrete, objective representations of real events, an assumption that is called into question when the practice is carefully examined. Unlike facts or ideas, which are intangible and constructed entirely in language, video images are constructed both discursively and materially. Consequently the power to grant physical access to events for photographic coverage grants political actors an advantage as they negotiate their image, literally and metaphorically.This qualitative study describes several such feeds and politically regulated video subsidies, their use by news organizations, and the means by which political agents influence their own image through such feeds. Data in the form of extended interviews and field observations were collected between 2005 and 2007 in the United States and Britain. Site visits include Congress, a U.S. statehouse, a state cable operation, and British Parliament. The findings indicate that journalism's relay of video images as objective, factual material, rather than constructions negotiated with political actors, fosters an illusion of transparency.

Highly publicized deaths of Black men during police encounters have inspired a renewed civil rights movement originating with a Twitter hashtag, "Black Lives Matter." Supporters of the law enforcement community quickly countered with an intervention of their own, using the slogan, "Blue Lives Matter." This project compared the discourses of their respective Facebook groups using cultural discourse analysis that considered words, images, and their symbiosis. Based on a foundation of structural Marxism as articulated by Althusser, this project found that the two groups' symbol systems are homologous with larger, ideological tensions in American culture: faith and reason.

This project examines the way journalists establish narrative authority in online video news through their strategic uses of epistemological production elements. Journalists have historically constructed video news stories with a combination of linguistic and photographic epistemic components to assert their role as authoritative arbiters of factual reality. Online news makes extensive use of video, but production formats and their associated epistemic strategies vary, largely in accordance with the traditions and values of different organizations. This study represents one part of a larger content analysis of video news narrative. It examines the epistemological choices in online video news narratives as produced by legacy print organizations (LP), TV stations (TV), or digital natives (DN). The results show that legacy traditions still divide print and TV organizations, while authority in DN video is constructed in a more diffuse and participatory style reflective of online culture.

This article represents a qualitative analysis of the Twitter feed from one news organization during the first phase of protests in Ferguson, Missouri, after the shooting of Michael Brown in 2014. The tweets, images, and videos from the St. Louis Post-Dispatch journalists constitute a real-time record as the protests unfolded. By applying a strand of framing theory known as the protest paradigm, the analysis discovered that journalists' tweeting marganalized protesters and framed police officers as dispassionate protectors of social order. Journalists' tweeting of protesters took on a more sympthatic tone when they both were subjected to police tear gas.These findings have implications for the coverage of race, violence, and protests in the United States as well as the way Twitter binds and represents an interpretive community.