Danny Lyon (born March 16, 1942) is an American photographer and filmmaker.
76-415: All of Lyon's publications work in the style of photographic New Journalism , meaning that the photographer has become immersed in, and is a participant of, the documented subject. He is the founding member of the publishing group Bleak Beauty. After being accepted as the photographer for Student Nonviolent Coordinating Committee (SNCC), Lyon was present at almost all of the major historical events during
152-617: A Lucie Award . Lyon was born in 1942 in Brooklyn, New York and is the son of Russian-Jewish mother Rebecca Henkin and German-Jewish father Dr. Ernst Fredrick Lyon. He was raised in Kew Gardens, Queens, and went on to study history and philosophy at the University of Chicago , where he graduated with a Bachelor of Arts degree in 1963. Lyon began his involvement in the civil rights movement in 1962 when he hitch-hiked to Cairo , Illinois during
228-478: A distinct genre and criticism against it as a new form. Robert Stein believed that "In the New Journalism the eye of the beholder is all—or almost all," and in 1971 Philip M. Howard, wrote that the new nonfiction writers rejected objectivity in favor of a more personal, subjective reportage. This parallels much of what Wakefield said in his 1966 Atlantic article. Magnum Photos Magnum Photos
304-645: A "New Journalism" had been created. Ault and Emery, for instance, said "[i]ndustrialization and urbanization changed the face of America during the latter half of the Nineteenth century, and its newspapers entered an era known as that of the 'New Journalism. ' " John Hohenberg, in The Professional Journalist (1960), called the interpretive reporting which developed after World War II a "new journalism which not only seeks to explain as well as to inform; it even dares to teach, to measure, to evaluate." During
380-490: A 1973 collection of journalism articles he published as The New Journalism , which included works by himself, Truman Capote , Hunter S. Thompson , Norman Mailer , Joan Didion , Terry Southern , Robert Christgau , Gay Talese and others. Articles in the New Journalism style tended not to be found in newspapers, but in magazines such as The Atlantic Monthly , Harper's , CoEvolution Quarterly , Esquire , New York , The New Yorker , Rolling Stone , and for
456-465: A New Journalist. In an article entitled "The Personal Voice and the Impersonal Eye", Dan Wakefield acclaimed the nonfiction of Capote and Wolfe as elevating reporting to the level of literature, terming that work and some of Norman Mailer 's nonfiction a journalistic breakthrough: reporting "charged with the energy of art". A review by Jack Newfield of Dick Schaap 's Turned On saw the book as
532-444: A bottle of champagne during the first meetings, Russell Miller writes: It was . . . presumably agreed by those present [at the first meeting] that Magnum was a fine new name for such a bold new venture, indicative as it was of greatness in its literal Latin translation, toughness in its gun connotation and celebration in its champagne mode. Magnum is owned by its photographers, who act as shareholders. Each full member of Magnum has
608-544: A collection of nearly 200,000 original press prints of images taken by Magnum photographers, which in 2013 it donated to the Harry Ransom Center . Magnum was founded in Paris in 1947 by Robert Capa , David "Chim" Seymour , Henri Cartier-Bresson , George Rodger and William Vandivert (all photographers), Rita Vandivert and Maria Eisner , based on an idea of Capa's. (Seymour, Cartier-Bresson and Rodger were all absent from
684-455: A custom car extravaganza in Los Angeles, in 1963. Finding he could not do justice to the subject in magazine article format, he wrote a letter to his editor, Byron Dobell, which grew into a 49-page report detailing the custom car world, complete with scene construction, dialogue and flamboyant description. Esquire ran the letter, striking out "Dear Byron." and it became Wolfe's maiden effort as
760-453: A depth of reporting and an attention to the most minute facts and details that most newspapermen, even the most experienced, have never dreamed of. In his "Birth of the New Journalism" in New York , Wolfe returned to the subject, which he here described as a depth of information never before demanded in newspaper work. The New Journalist, he said, must stay with his subject for days and weeks at
836-682: A forum for discussion of journalistic and social activism. In another 1971 article under the same title, Ridgeway called the counterculture magazines such as The New Republic and Ramparts and the American underground press New Journalism. Another version of subjectivism in reporting is what is sometimes called participatory reporting. Robert Stein, in Media Power , defines New Journalism as "A form of participatory reporting that evolved in parallel with participatory politics ..." The above interpretations of New Journalism view it as an attitude toward
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#1732930576782912-473: A good example of budding tradition in American journalism which rejected many of the constraints of conventional reporting: This new genre defines itself by claiming many of the techniques that were once the unchallenged terrain of the novelist: tension, symbol, cadence, irony, prosody, imagination. A 1968 review of Wolfe's The Pump House Gang and The Electric Kool-Aid Acid Test said Wolfe and Mailer were applying "the imaginative resources of fiction" to
988-437: A new art form which he labelled the "nonfiction novel". I've always had the theory that reportage is the great unexplored art form... I've had this theory that a factual piece of work could explore whole new dimensions in writing that would have a double effect fiction does not have—the very fact of its being true, every word of it's true, would add a double contribution of strength and impact Capote continued to stress that he
1064-457: A panel discussion reported in Writer's Digest , merely reporting what people did and said. Wolfe identified the four main devices New Journalists borrowed from literary fiction : Despite these elements, New Journalism is not fiction. It maintains elements of reporting including strict adherence to factual accuracy and the writer being the primary source. To get "inside the head" of a character,
1140-488: A picture of imprisonment as distressing as I knew it to be in reality." Lyon befriended many of the prisoners. The book also includes texts taken from prison records, letters from convicts, and inmate artwork. In particular, the book focuses on the case of Billy McCune, a convicted rapist whose death sentence was eventually commuted to life in prison. In the foreword, Lyon describes McCune as a diagnosed psychotic , who one evening, while awaiting execution, "cut his penis off to
1216-535: A precedent which Mailer would later build on in his 1968 convention coverage ( Miami and the Siege of Chicago ) and in other nonfiction as well. Wolfe wrote that his first acquaintance with a new style of reporting came in a 1962 Esquire article about Joe Louis by Gay Talese . " 'Joe Louis at Fifty' wasn't like a magazine article at all. It was like a short story. It began with a scene, an intimate confrontation between Louis and his third wife..." Wolfe said Talese
1292-490: A run-in with the police, one of whom threatened to kill him because when told they “didn’t mix the races down here”, Lyon claimed he had a Black grandfather. Lyon left town in order to keep all the pictures he had taken safe from being confiscated. In 1963 Lyon returned, but the SNCC was reluctant to bring him aboard as their photographer. One job Lyon participated in was getting a picture of some high-school girls who were in prison at
1368-434: A short while in the early 1970s, Scanlan's Monthly . Contemporary journalists and writers questioned the "currency" of New Journalism and its qualification as a distinct genre. The subjective nature of New Journalism received extensive exploration: one critic suggested the genre's practitioners functioned more as sociologists and psychoanalysts than as journalists. Criticism has been leveled at numerous individual writers in
1444-489: A statement Magnum said it will re-examine the content of its archive, and has since made its website available again but without Harvey's Bangkok series. Harvey was later suspended for a year following a formal investigation into sexual misconduct allegations against him. In February 2010, Magnum announced that Michael Dell 's venture capital firm MSD Capital had acquired a collection of nearly 200,000 original press prints of images taken by Magnum photographers. It had formed
1520-460: A stretch. In Wolfe's Esquire piece, saturation became the "Locker Room Genre" of intensive digging into the lives and personalities of one's subject, in contrast to the aloof and genteel tradition of the essayists and "The Literary Gentlemen in the Grandstand". For Talese, intensive reportage took the form of interior monologue to discover from his subjects what they were thinking, not, he said in
1596-669: A struggle for equality , a documentary book about the Civil Rights Movement in the southern region of the United States. Later, Lyon began creating his own books. His first was a study of outlaw motorcyclists in the collection The Bikeriders (1968), where Lyon photographed, traveled with and shared the lifestyle of bikers in the American Midwest from 1963 to 1967. Living in a rented apartment in Woodlawn, Chicago , Lyon followed
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#17329305767821672-406: A subjective perspective, a literary style reminiscent of long-form non-fiction. Using extensive imagery, reporters interpolate subjective language within facts whilst immersing themselves in the stories as they reported and wrote them. In traditional journalism, the journalist is "invisible"; facts are meant to be reported objectively. The term was codified with its current meaning by Tom Wolfe in
1748-518: A summer break after his junior year at the University of Chicago. He was inspired by a speech John Lewis had given at a church on his first day in Cairo. After his speech Lewis left to go attend a sit-in, Lyon was impressed by this, Lewis was putting action behind his words. Lyon then decided to march to a nearby segregated swimming pool, the demonstrators knelt down to pray as the pool-goers heckled them. Soon
1824-610: A truck came, it went through the crowd in an attempt to break it up, a young black girl was hit by the truck and Lyon knew that he wanted to be a part of the movement. For a time after this, in the 1960s, Lewis and Lyon were roommates. In September 1962, with a $ 300 donation by Harry Belafonte , the Student Nonviolent Coordinating Committee (SNCC) flew Lyon to Jackson and the Mississippi Delta to cover voter registration workers. Shortly after, Lyon had
1900-528: A vote in proposals made at a meeting held once a year, called the Annual General Meeting (AGM). Photographers with the status of contributor or correspondent are represented by Magnum but have no voting rights. Full members can choose to become contributors after 23 years of membership; this status gives them increased liberty to work outside Magnum, at the cost of their voting rights. In the early years of Magnum, membership had generally come about by
1976-411: A young man. Also a filmmaker and writer, Lyon's films and videos include Los Niños Abandonados , Born to Film , Willie , and Murderers . He has published the non-fiction book Like A Thief's Dream . New Journalism New Journalism is a style of news writing and journalism , developed in the 1960s and 1970s, that uses literary techniques unconventional at the time. It is characterized by
2052-469: Is an artistic, creative, literary reporting form with three basic traits: dramatic literary techniques; intensive reporting; and reporting of generally acknowledged subjectivity. Pervading many of the specific interpretations of New Journalism is a posture of subjectivity. Subjectivism is thus a common element among many (though not all) of its definitions. In contrast to a conventional journalistic striving for an objectivity, subjective journalism allows for
2128-417: Is an international photographic cooperative owned by its photographer-members, with offices in Paris, New York City, London and Tokyo. It was founded in 1947 in Paris by photographers Robert Capa , David "Chim" Seymour , Maria Eisner , Henri Cartier-Bresson , George Rodger , William Vandivert , and Rita Vandivert. Its photographers retain all copyrights to their own work. In 2010, MSD Capital acquired
2204-410: Is hard to isolate from a number of the more generic meanings. The new nonfiction were sometimes taken for advocacy of subjective journalism. A 1972 article by Dennis Chase defines New Journalism as a subjective journalism emphasizing "truth" over "facts" but uses major nonfiction stylists as its example. Although much of the critical literature discussed the use of literary or fictional techniques as
2280-432: Is inconsistent with objectivity or accuracy. However, others have argued that total immersion enhances accuracy. As Wolfe put the case: I am the first to agree that the New Journalism should be as accurate as traditional journalism. In fact my claims for the New Journalism, and my demands upon it, go far beyond that. I contend that it has already proven itself more accurate than traditional journalism—which unfortunately
2356-549: Is possible through the mere compilation of verifiable facts, the use of direct quotations, and adherence to the rigid organizational style of the older form. Seymour Krim 's Shake It for the World, Smartass , which appeared in 1970, contained "An Open Letter to Norman Mailer" which defined New Journalism as "a free nonfictional prose that uses every resource of the best fiction." In "The Newspaper As Literature/Literature As Leadership", he called journalism "the de facto literature" of
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2432-618: Is saying but so much... Wolfe coined "saturation reporting" in his Bulletin of the American Society of Newspaper Editors article. After citing the opening paragraphs of Talese's Joe Louis piece, he confessed believing that Talese had "piped" or faked the story, only later to be convinced, after learning that Talese so deeply delved into the subject, that he could report entire scenes and dialogues. The basic units of reporting are no longer who-what-when-where-how and why but whole scenes and stretches of dialogue. The New Journalism involves
2508-744: The Civil Rights Movement . He has had solo exhibits at the Whitney Museum of American Art , the Art Institute of Chicago , the Menil Collection , the M. H. de Young Memorial Museum in San Francisco and the Center for Creative Photography at the University of Arizona . Lyon twice received a Guggenheim Fellowship ; a Rockefeller Fellowship, Missouri Honor Medal for Distinguished Service in Journalism; and
2584-570: The Leesburg Stockade without any charges against them. He hid in the back of a car while someone else drove him to the prison, and the young man who drove distracted the guards while Lyon snuck in the back to get the photo. After being accepted as the photographer for SNCC, Lyon was present at almost all of the major historical events during the movement capturing the moments with his camera. His pictures appeared in The Movement: documentary of
2660-464: The muck-raking Stead, and declared that, under this editor, "the P.M.G., whatever may be its merits, is fast ceasing to be literature." Stead himself called his brand of journalism ' Government by Journalism '. How and when the term New Journalism began to refer to a genre is not clear. Tom Wolfe , a practitioner and principal advocate of the form, wrote in at least two articles in 1972 that he had no idea of where it began. Trying to shed light on
2736-425: The 1960s and 1970s, the term enjoyed widespread popularity, often with meanings bearing manifestly little or no connection with one another. Although James E. Murphy noted that "...most uses of the term seem to refer to something no more specific than vague new directions in journalism", Curtis D. MacDougal devoted the preface of the sixth edition of his Interpretative Reporting to New Journalism and cataloged many of
2812-723: The Chicago chapter of the Outlaws Motorcycle Club in an "attempt to record and glorify the life of the American bikerider". Seeking advice from Hunter S. Thompson , who spent a year with the Hells Angels for his own book, Hell's Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs , Thompson warned Lyon that he should "get the hell out of that club unless it's absolutely necessary for photo action." Lyon said of Thompson's response: "He advised me not to join
2888-509: The Dead (1971) was published with full cooperation of the Texas Department of Corrections. Lyon photographed in six prisons over a 14-month period in 1967–68. The series was printed in book form in 1971 by Holt publishing. The introduction points to a statement of purpose that the penal system of Texas is symbolic for incarceration everywhere. He states, "I tried with whatever power I had to make
2964-508: The New Journalism?" wondered Thomas Powers in a 1975 issue of Commonweal . In 1981, Joe Nocera published a postmortem in Washington Monthly blaming its demise on the journalistic liberties taken by Hunter S. Thompson. Regardless of the culprit, less than a decade after Wolfe's 1973 New Journalism anthology, the consensus was that New Journalism was dead. As a literary genre, New Journalism has certain technical characteristics. It
3040-489: The Outlaws and to wear a helmet. I joined the club and seldom wore a helmet". He was a full-fledged member of the Outlaws between 1966 and 1967. On his time as an Outlaws member, Lyon said: "I was kind of horrified by the end. I remember I had a big disagreement with this guy who rolled out a huge Nazi flag as a picnic rug to put our beers on. By then I had realised that some of these guys were not so romantic after all". The series
3116-460: The basis for a New Journalism, critics also referred to the form as stemming from intensive reporting. Stein, for instance, found the key to New Journalism not its fictionlike form but the " saturation reporting" which precedes it, the result of the writer's immersion in his subject. Consequently, Stein concluded, the writer is as much part of his story as is the subject and he thus linked saturation reporting with subjectivity. For him, New Journalism
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3192-553: The contemporary definitions: "Activist, advocacy, participatory, tell-it-as-you-see-it, sensitivity, investigative, saturation, humanistic, reformist and a few more." The Magic Writing Machine—Student Probes of the New Journalism , a collection edited and introduced by Everette E. Dennis, came up with six categories, labelled new nonfiction (reportage), alternative journalism ("modern muckraking"), advocacy journalism, underground journalism and precision journalism. Michael Johnson's The New Journalism addresses itself to three phenomena:
3268-463: The datum or piece of information but the scene. Scene is what underlies "the sophisticated strategies of prose". The first of the new breed of nonfiction writers to receive wide notoriety was Truman Capote , whose 1965 best-seller, In Cold Blood , was a detailed narrative of the murder of a Kansas farm family. Capote culled material from some 6,000 pages of notes. The book brought its author instant celebrity. Capote announced that he had created
3344-666: The editors E.W Johnson and Tom Wolfe, include George Plimpton for Paper Lion , Life writer James Mills and Robert Christgau , et cetera, in the corps. Christgau, however, stated in a 2001 interview that he does not see himself as a New Journalist. The editors Clay Felker, Normand Poirier and Harold Hayes also contributed to the rise of New Journalism. While many praised the New Journalist's style of writing, Wolfe et al., also received severe criticism from contemporary journalists and writers. Essentially two different charges were leveled against New Journalism: criticism against it as
3420-529: The essay to stream-of-consciousness... In the eighties, the use of New Journalism saw a decline, several of the old trailblazers still used fiction techniques in their nonfiction books. However, younger writers in Esquire and Rolling Stone , where the style had flourished in the two earlier decades, shifted away from the New Journalism. Fiction techniques had not been abandoned by these writers, but they were used sparingly and less flamboyantly. "Whatever happened to
3496-457: The existential threat of mass-extinction into public-consciousness for the first time for most of their contemporary readers. Much of the criticism favorable to this New Journalism came from the writers themselves. Talese and Wolfe, in a panel discussion cited earlier, asserted that, although what they wrote may look like fiction, it was indeed reporting: "Fact reporting, leg work", Talese called it. Wolfe, in Esquire for December, 1972, hailed
3572-482: The genre "New Art Journalism", which allowed him to test it both as art and as journalism. He concluded that the new literary form was useful only in the hands of literary artists of great talent. In the first of two pieces by Wolfe in New York detailing the growth of the new nonfiction and its techniques, Wolfe returned to the fortuitous circumstances surrounding the construction of Kandy-Kolored and added: Its virtue
3648-501: The genre, as well. Various people and tendencies throughout the history of American journalism have been labeled "new journalism". Robert E. Park , for instance, in his Natural History of the Newspaper , referred to the advent of the penny press in the 1830s as "new journalism". Likewise, the appearance of the yellow press —papers such as Joseph Pulitzer 's New York World in the 1880s—led journalists and historians to proclaim that
3724-729: The journalist asks the subject what they were thinking or how they felt. There is little consensus on which writers can be definitively categorized as New Journalists. In The New Journalism: A Critical Perspective , Murphy writes that New Journalism "involves a more or less well defined group of writers," who are "stylistically unique" but share "common formal elements". Among the most prominent New Journalists, Murphy lists: Jimmy Breslin, Truman Capote, Joan Didion, David Halberstam , Pete Hamill, Larry L. King , Norman Mailer, Joe McGinniss , Rex Reed , Mike Royko, John Sack , Dick Schaap, Terry Southern , Gail Sheehy, Gay Talese, Hunter S. Thompson, Dan Wakefield and Tom Wolfe. In The New Journalism ,
3800-426: The large-scale demolition taking place throughout Lower Manhattan in 1967. Included are photographs of soon to be demolished streets and buildings, portraits of the neighborhood's last remaining stragglers and pictures from within the demolition sites themselves. The book was eventually remaindered for one dollar each, but soon attained the status of a collector's item. It was reprinted in 2005. Conversations with
3876-480: The majority, a synthesis of journalism and literature that the book's postscript called "journalit". In 1972, in "An Enemy of the Novel", Krim identified his own fictional roots and declared that the needs of the time compelled him to move beyond fiction to a more "direct" communication to which he promised to bring all of fiction's resources. David McHam, in an article titled "The Authentic New Journalists", distinguished
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#17329305767823952-412: The manifold incidental details to round out character (i.e., descriptive incidentals). The result: ... is a form that is not merely like a novel . It consumes devices that happen to have originated with the novel and mixes them with every other device known to prose. And all the while, quite beyond matters of technique, it enjoys an advantage so obvious, so built-in, one almost forgets what power it has:
4028-425: The matter, literary critic Seymour Krim offered his explanation in 1973. I'm certain that [Pete] Hamill first used the expression. In about April of 1965 he called me at Nugget Magazine, where I was editorial director, and told me he wanted to write an article about new New Journalism. It was to be about the exciting things being done in the old reporting genre by Talese, Wolfe and Jimmy Breslin . He never wrote
4104-451: The meeting at which it was founded. In response to a letter telling him that he was a member, Rodger wrote that Magnum seemed a good idea but, "It all sounded too halcyon to be true," when Capa had told him of it and, "I rather dismissed the whole thing from my mind". ) Rita Vandivert was the first President, and head of the New York office; Maria Eisner the head of the Paris office. The plan
4180-487: The meeting is reserved to review potential new members' portfolios and vote on admitting individuals. An approved applicant is invited to become a 'Nominee Member' of Magnum, a category of membership that provides a chance for members and the individual to get to know each other, but that includes no binding commitments on either side. After two years of Nominee membership, a photographer may present another portfolio if wanting to apply for 'Associate Membership'. If successful,
4256-539: The members. Once elected as a full member, the individual is a member of Magnum for life or for as long as the photographer chooses. Magnum Photos' digital archive constitutes more than 1 million images, that Magnum licenses through its website. In August 2020, the Magnum website was taken offline after issues were raised by the Fstoppers photography website and amplified on social media by others including Jörg Colberg . Given
4332-465: The nonfiction reportage of Capote, Wolfe and others from other, more generic interpretations of New Journalism. Also in 1971, William L. Rivers disparaged the former and embraced the latter, concluding, "In some hands, they add a flavor and a humanity to journalistic writing that push it into the realm of art." Charles Brown in 1972 reviewed much that had been written as New Journalism and about New Journalism by Capote, Wolfe, Mailer and others and labelled
4408-513: The personal invitation of Robert Capa . However, in 1955 a three-stage membership system was set up that continues to this day and is described below. Until 1953 there were also a large number of stringers who used Magnum but were not members. Magnum's photographers meet once a year, during the last weekend in June, in New York City, Paris or London, to discuss the cooperative's business. One day of
4484-478: The photographer Robert Frank , famous by then for his 1958 book The Americans , took him in. Lyon had met Frank two years earlier, at the end of a Happening that Lyon was part of, in New York City. Lyon lived with the Frank family for six months in the city, in an apartment on West 86th St. The Destruction of Lower Manhattan (1969) was Lyon's next work, published by Macmillan Publishers in 1969. The book documents
4560-476: The photographer is bound by the rules of the agency, and enjoys its facilities and worldwide representation. The difference between an Associate Member and a full Member is that an Associate is not a Director of the Company and does not have voting rights in the corporate decision-making. After two more years, an Associate wanting to be considered for full membership presents another portfolio of work for consideration by
4636-425: The photographs they take. The Magnum cooperative has included photojournalists from across the world, who have covered many historical events of the 20th century. The cooperative's archive includes photographs depicting family life, drugs , religion, war, poverty, famine , crime, government and celebrities . Although it has been asserted that the name "Magnum" was chosen because the founding members always drank
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#17329305767824712-470: The piece, so far as I know, but I began using the expression in conversation and writing. It was picked up and stuck. But wherever and whenever the term arose, there is evidence of some literary experimentation in the early 1960s, as in 1960 when Norman Mailer broke away from fiction to write " Superman Comes to the Supermarket ". A report of John F. Kennedy 's nomination that year, the piece established
4788-450: The practice of journalism. But a significant portion of the critical literature deals with form and technique. Critical comment dealing with New Journalism as a literary-journalistic genre (a distinct type of category of literary work grouped according to similar and technical characteristics ) treats it as the new nonfiction . Its traits are extracted from the criticism written by those who claim to practice it and by others. Admittedly it
4864-418: The replacement of the novel by the New Journalism as literature's "main event" and detailed the points of similarity and contrast between the New Journalism and the novel. The four techniques of realism that he and the other New Journalists employed, he wrote, had been the sole province of novelists and other literati . They are scene-by-scene construction, full record of dialogue, third-person point of view and
4940-466: The root and, placing it in a cup, passed it between the bars to the guard." All of Lyon's publications work in the style of photographic New Journalism , meaning that the photographer has become immersed, and is a participant, of the documented subject. He is the founding member of the publishing group Bleak Beauty. He was greatly encouraged in his photography by curator of the Art Institute of Chicago Hugh Edwards , who gave Lyon two solo exhibits as
5016-402: The simple fact that the reader knows all this actually happened . The disclaimers have been erased. The screen is gone. The writer is one step closer to the absolute involvement of the reader that Henry James and James Joyce dreamed of but never achieved. The essential difference between the new nonfiction and conventional reporting is, he said, that the basic unit of reporting was no longer
5092-529: The style eventually infected other magazines and then books. Rarely mentioned, perhaps because they are somewhat less playfully countercultural in tone, as early and eminent exemplars of the new form are: Hannah Arendt's " Eichmann in Jerusalem "(1963) and John Hersey's " Hiroshima " (1946), and Rachel Carson's " Silent Spring "(1962); articles which introduced, respectively, the Holocaust , nuclear war and
5168-568: The tags on the photos, there was concern that Magnum was making available photographs of children featuring nudity; that documented encounters that constituted a record of acts of child sexual abuse; and that were problematic in terms of the way they had been labelled for searching. "Much of the criticism [. . .] has focused on a series of photographs by the US photographer David Alan Harvey from his time documenting sex workers in Bangkok in 1989." In
5244-485: The underground press, the artists of nonfiction, and changes in the established media. Matthew Arnold is credited with coining the term "New Journalism" in 1887, which went on to define an entire genre of newspaper history, particularly Lord Northcliffe's turn-of-the-century press empire. However, at the time, the target of Arnold's irritation was not Northcliffe, but the sensational journalism of Pall Mall Gazette editor W. T. Stead . He strongly disapproved of
5320-408: The world around them and termed such creative journalism "hystory" to connote their involvement in what they reported. Talese in 1970, in his Author's Note to Fame and Obscurity , a collection of his pieces from the 1960s, wrote: The new journalism, though often reading like fiction, is not fiction. It is, or should be, as reliable as the most reliable reportage although it seeks a larger truth than
5396-588: The writer's opinion, ideas or involvement to creep into the story. Much of the critical literature concerns itself with a strain of subjectivism which may be called activism in news reporting. In 1970, Gerald Grant wrote disparagingly in Columbia Journalism Review of a "New Journalism of passion and advocacy" and in the Saturday Review Hohenberg discussed "The Journalist As Missionary" For Masterson in 1971, "The New Journalism" provided
5472-443: Was a literary artist, not a journalist, but critics hailed the book as a classic example of New Journalism. Wolfe's The Kandy-Kolored Tangerine-Flake Streamline Baby , whose introduction and title story, according to James E. Murphy, "emerged as a manifesto of sorts for the nonfiction genre," was published the same year. In his introduction, Wolfe wrote that he encountered trouble fashioning an Esquire article out of material on
5548-476: Was for Rodger to cover Africa and the Middle East; Cartier-Bresson to cover south and east Asia; Seymour and William Vandivert to cover Europe and the United States, respectively; and Capa to be free to follow his curiosity and events. Magnum is one of the first photographic cooperatives , owned and administered entirely by members. The staff serve a support role for the photographers, who retain all copyrights to
5624-581: Was immensely popular and influential in the 1960s and 1970s. By 1967, Lyon was invited to join Magnum Photos . After The Bikeriders , he spent time documenting the lives of inmates in Texas prisons. During the 1970s, Lyon also contributed to the Environmental Protection Agency 's DOCUMERICA project. In 1969, when Lyon returned from his work in Texas to New York City , and had no place to live,
5700-406: Was precisely in showing me the possibility of there being something "new" in journalism. What interested me was not simply the discovery that it was possible to write accurate nonfiction with techniques usually associated with novels and short stories. It was that—plus. It was the discovery that it was possible in nonfiction, in journalism, to use any literary device, from the traditional dialogisms of
5776-512: Was the first to apply fiction techniques to reporting. Esquire claimed credit as the seedbed for these new techniques. Esquire editor Harold Hayes later wrote that "in the Sixties, events seemed to move too swiftly to allow the osmotic process of art to keep abreast, and when we found a good novelist we immediately sought to seduce him with the sweet mysteries of current events." Soon others, notably New York , followed Esquire ' s lead, and
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