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Journalism offered an apprenticeship to many established American novelists from the post-Civil war period to pre-World War II. Many of them engaged in different kinds of journalism, but most of them wrote articles for newspapers by filling factual gaps with fiction. In exchange, they employed conventions drawn from journalism in their fiction writing. The paper focuses on two of these canonical writers: Ernest Hemingway and John Dos Passos to discuss how journalism was used to keep them in a direct dialogue with contemporary issues and with the innovative techniques of the new media. This interplay between their fiction writing and journalism contributed to a redefinition of American modernism.

A fascinating look at the United States' conflicted relationship with news and the media, through the lens of the newsreel When weekly newsreels launched in the early twentieth century, they offered the U.S. public the first weekly record of events that symbolized \"indisputable evidence\" of the news. In News Parade, Joseph Clark examines the history of the newsreel and how it changed the way Americans saw the world. He combines an examination of the newsreel's methods of production, distribution, and reception with an analysis of its representational strategies to understand the newsreel's place in the history of twentieth-century American culture and film history. Clark focuses on the sound newsreel of the 1930s and 1940s, arguing that it represents a crucial moment in the development of a spectacular society where media representations of reality became more fully integrated into commodity culture. Using several case studies, including the newsreel's coverage of Charles Lindbergh's transatlantic flight and the Sino-Japanese War, News Parade shows how news film transformed the relationship between its audience and current events, as well as the social and political consequences of these changes. It pays particular attention to how discourses of race and gender worked together with the rhetoric of speed, mobility, and authority to establish the power and privilege of newsreel spectatorship. In the age of fake news and the profound changes to journalism brought on by the internet, News Parade demonstrates how new technologies and media reshaped the American public's relationship with the news in the 1930s-a history that can help us to better understand the transformations happening today.

Utilizing a systematic review of the literature under the quality standards of the Preferred Reporting Items for Systematic reviews and Meta-Analyses statement, this article characterizes research on Latin American newsreels published in English and Spanish academic journals worldwide. Based on the identification of associated topics, the scope of the research and the methodological approaches presented in the articles, we found that the main research interests involve the analysis and description of the relationships among newsreels, political processes and the growth of modernity in some Latin American countries.

This article maps out a network of cinematic collaboration established between Yugoslavia and the non-aligned countries in Africa, primarily via the institution of the Yugoslav Newsreels (Filmske novosti). Yugoslav newsreel activities developed to accompany the performative diplomacy of President Tito’s “Voyages of Peace,” playing a role both in cementing his image internationally and his political status at home. By the late 1950s, cinema would become one of the central instruments of Yugoslav information activities abroad, capitalizing on an expanding diplomatic network. In this context, Filmske novosti became the bearers of Yugoslav technical aid in the domain of cinema. Building on a trope of shared revolutionary struggles, they boosted Yugoslavia’s international reputation through the filming of the Algerian Liberation Movement. The unique nature of the cinematic aid provided by Filmske novosti to liberation movements such as the ALN and FRELIMO was continued, with assistance in setting up of national film centers in countries such as Mali and Tanzania. Throughout, Yugoslavia maintained a praxis of non-conditional and non-credited transnational ciné-kinship, which is one of the reasons this remains an unknown chapter in the history of Third Cinema and militant ciné-geographies.

This study firstly emphasize the importance and relevance of analysing newsreels from a history of education aspect, which is a blind spot in the Hungarian research. The official Leninist ideology deeply influenced the genre, used as a channel of overall propaganda, during and after the communist takeover, between 1945 and 1954. Production and broadcasting depended on the political goals and turns of the Communist Party, combined simple messages with easily understandable narrative forms, to support campaigns, spread intended knowledge and so on. The footages has now digitized and open to access for everyone (https://filmhiradokonline.hu/): using the webpage, through a three-step data collecting and selection process, a database made, with 205 items to analyse. Three archetypes, basic storytelling forms are detected, I called them metaphorically One from the many, Occupying space and Learning society. The development and progression of the country after WW2 always represented in individual life-stories and personal backgrounds to get close these stories to the audience, trying to make Soviets and communists more popular. At the same time, more and more spaces are occupied by the new power, both physically and symbolically, for example the former castles became schools, training sites, etc., which signed the expropriation the past, too. Definition and scope of education extended in the discourses, because every member of the society would learn repeatedly the language of the new establishment. Propaganda and persuasion was overall in this process, one could not avoid interacting and reflecting somehow to this.

The city of Brasilia was built between 1957 and 1960 under the government of JuscelinoKubitschek, when architect Oscar Niemeyer and engineer Lucio Costa's project was put into practice. During the construction, filming happened spontaneously, such as home movies, and through companies contracted by the State to make government propaganda showing the construction stages of the new capital. This article discusses aspects of the life and works of six pioneers who filmed Brasilia as it was being built: Manuel Mendes, Fernando Rosendo, Dino Cazzola, Isaac Rozemberg, Jose Antonio Silva, and Salvio Silva. In addition, consideration is given to access, in the current period, to the films produced during the construction and early years of Brasilia, and to the importance of such works, which became inscribed as part of cultural world heritage by UNESCO in 2007.

The films produced during the political transition to democracy in Spain continue to capture the interest of film analysts and historians. However, beyond the realm of fiction films, there are still many areas that have received little attention, such as the attempts to develop newsreels for cinemas once the monopoly of the Francoist No-Do newsreels had ended. This study focuses on the Noticiari de Barcelona newsreel series produced between 1977 and 1980, specifically analysing its content and its discourse. The importance of this newsreel series lies in three main factors: because it constituted one of the first steps towards the development of a Catalan film industry after the end of the dictatorship (in the midst of a debate in Spain over the need to establish autonomous film industries for each of the country’s different regions); because of the attempt it constituted to establish a local audiovisual news product in clear opposition to the No-Do newsreels; and because of its adoption of some of the themes, discursive strategies and objectives attributed to many of the independent political films of the period. All of these factors determined the content and discourse of the newsreels, and gave them an orientation that was more persuasive than strictly informative.