Blogs

Neste link aqui, acesso ao vídeo do debate “The Future of Journalism: Who’s Going to Report the News?”, promovido pelo Milken Institute. O evento ocorreu na quarta-feira. Os participantes são bons:

Debatedores:

Gordon Crovitz, Co-Founder, Journalism Online; former Publisher, The Wall Street Journal

Arianna Huffington, Co-Founder and Editor-in-Chief, The Huffington Post

Bill Keller, Executive Editor, The New York Times

Andrew Lack, CEO, Multimedia, Bloomberg LP

Vivian Schiller, President and CEO, NPR

Moderador:

Terence Smith, Journalist; former Correspondent, “The NewsHour with Jim Lehrer”

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Via Techno Tuesday.

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Nos Los Angeles Times: a tecnologia 3D está mudando a maneira como roteiros são escritos e pode logo mais determinar quais filmes serão realizados pelos estúdios. Leia a matéria: “Popularity of 3-D is affecting how screenplays are written“.

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(Dica do Almir de Freitas).

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A foto de Diego Souza sendo abraçado pelo lateral Armero, após o gol do Palmeiras, ganhou o Prêmio Abril de Jornalismo (categoria fotojornalismo). O autor é Alexandre Battibugli. Foi publicada na revista Placar em junho de 2009. Aqui, outros vencedores e finalistas (em todas as categorias).

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A empresa Style-Your-Garage.com cria cartazes para portas de garagem. Os preços variam entre US$ 199 e US$ 399, para a porta dupla . Veja alguns exemplos:

(Dica do Adão Sales)

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Em texto para o jornal The Guardian, Christopher Hitchens revisita o livro “A Revolução dos Bichos” (Animal Farm), de George Orwell. Bom para algum jornal traduzir e publicar. Um trecho:

“(…) Probably the best-known sentence from the novel is the negation by the pigs of the original slogan that “All Animals Are Equal” by the addition of the afterthought that “Some Animals Are More Equal than Others”. As communism in Russia and eastern Europe took on more and more of the appearance of a “new class” system, with grotesque privileges for the ruling elite and a grinding mediocrity of existence for the majority, the moral effect of Orwell’s work – so simple to understand and to translate, precisely as he had hoped – became one of the many unquantifiable forces that eroded communism both as a system and as an ideology. Gradually, the same effect spread to Asia. I remember a communist friend of mine telephoning me from China when Deng Xiaoping announced the “reforms” that were to inaugurate what we now know as Chinese capitalism. “The peasants must get rich,” the leader of the party announced, “and some will get richer than others.” My comrade was calling to say that perhaps Orwell had had a point after all. Thus far, Animal Farm has not been legally published in China, Burma or the moral wilderness of North Korea, but one day will see its appearance in all three societies, where it is sure to be greeted with the shock of recognition that it is still capable of inspiring. (…)”

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Um bom achado para jornalistas (e para amantes da boa reportagem): dois jovens americanos, Max Linsky e Aaron Lammer, criaram o Longform.org, um site que coleciona bons exemplos do que os americanos chamam de “long-form journalism” (matérias longas, que têm mais de 4000 mil palavras). Vale colocar nos Favoritos. Exemplos: matéria sobre Kubrick na Vanity Fair; matéria sobre Helg Sgarbi (o sedutor malandrão que se aproveitava de mulheres ricas) na Details.

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Do meu arquivo de boas reportagens, resgatei uma longa matéria de Gary Greenberg para a New Yorker sobre morte cerebral. Foi publicada em 2001, mas coloco aqui para quem perdeu: “As good as dead – Is there really such a thing as brain death?“. Um trecho:

“(…) Confusion about the concept of brain death is not unusual, even among the transplant professionals, surgeons, neurologists, and bioethicists who grapple with it regularly. Brain death is confusing because it’s an artificial distinction constructed, more than thirty years ago, on a conceptual foundation that is unsound. Recently, some physicians have begun to suggest that brain-dead patients aren’t really dead at all—that the concept is just the medical profession’s way of dodging ethical questions about a practice that saves more than fifteen thousand lives a year. (…)”

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Gravité from Renaud Hallée on Vimeo.

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