Books like Getting Out Alive — picked by fans

Propaganda is truth; truth is propaganda. We live in an Orwellian world, the world of “alternative narratives” – blatant untruths that are like a twisted mantra tormenting objectivity until it is beaten into submission.

When I first read 1984, I knew Orwell was not predicting the future but describing the past and the betrayal of a socialist revolution by Stalin. But the hideous truth is that Orwell’s depiction of the "evil Soviet empire" is now the new reality, east and west, where tyranny and authoritarianism distort reality to the point where people feel powerless to oppose.

Resist, and the system will get you. Accept, and you will live a life of a deluded soulless husk. You choose!

The pairing of a kosher London Business School professor with a rock-solid broadcasting analysis track record and a style commentator with none. Nearly half the book is made up of footnotes and references. They build a powerful case against the right-wing (and not so right-wing) rag, tag, and bobtail who expend their intellectual effort on undermining the BBC, trying to destroy it or worse ‘defund it’. The trouble is that post-Brexit rational discussion in the UK is stilted and limited. The BBC has acquired an army of unexpected enemies. The usual suspects of friends are proving somewhat muted on this front in the Culture Wars. A hard but good read.

Much of the writing on the BBC is ill-formed opinion. Few facts. This book is partial but very solid academically. It should, but will not, put some arguments to bed. Will it ‘save’ the BBC. Watch this space.

Will is the Kosygin of the BBC. He survived many changes of regime ending up close to the Britain Himalayan summit as Managing Director Television. Along the way, he made some good programmes and developed some innovations like using a small presentation studio to make the likes of The Old Grey Whistle Test. Later, his documentary features department in Kensington House was huge and productive. Will may have been the ace BBC politician but he was and still is very charming. I know he accosted me in the Waitrose oxford car park many years after I had left the BBC and that has led to a friendship of sorts. He is Oxford/Town Boy -through and through. A local lad whose headmaster in his Walton Manor primary school ‘helped’ him by hinting and more through the 11plus. It was up hills and career mountains from there. Will is ‘Old… show more.

Charlotte is a Guardian arts/feature writer whom Alan Rusbridger at the Guardian set off on a social anthropological expedition to New Broadcasting House in 2015. She was openly embraced by the then Director-General Tony Hall. It shows. What emerges is a bit too hagiographic for my liking. A Radio four listener’s view of the Corporation.

It is a snapshot of the upper reaches of the BBC with some history thrown in. Not sure she got close to the shop floor though.

This book is not about death on its own but images of death, and the roles to which they are put by the press and politicians.

Focusing on iconic photographs of death from events such as the 1906 San Francisco Earthquake, the Vietnam War, and the September 11th attacks, among many others, Zelizer charts a growing discomfort over time with images of death in the news. As technology improved, such photos became more graphic and intimate, and norms around the increasingly professionalized field of journalism came to render them mostly off limits.

Despite the general squeamishness of Western journalists and readers towards such images today, however, we do still see them during major world events and important breaking stories. It’s also true, Zelizer points out, that images of death in far away places are often shown in American newspapers with less concern.

There are important lessons here for all of… show more.

Moseley was the Chief European Correspondent for The Chicago Tribune for the last forty years of the twentieth century and although published by a university press is more a work of journalism than original scholarship. 

It is based largely on the memoirs of an extraordinary number of reporters, many American but many more not. The real virtue of this book is how wide-ranging it is, covering the entire war and reporters from all of the combatant countries.

Readers get a vivid sense of how World War II was just that—a war that raged across the globe. 

Chavez modernizes the Mexican miscreant myth, explaining how vivid TV news scenes of immigrants inspire visceral reactions.

He argues that the emotions inspired by media coverage of vigilante groups rounding up immigrants are a potent part of “the spectacle” that plays out on the news. Chavez also gives the xenophobic storytelling of the late twentieth and early twenty-first century an updated name: The Latino Threat Narrative.

The book powerfully picks apart ideas posited by the late Harvard Professor Samuel Huntington, among others, that suggest that Mexican Americans won’t assimilate, making them perennial “others” who threaten American democracy. Another thing I like about this book is that it includes a chapter on Latinas and how media coverage of Latina fertility and sexuality plays into racist stereotyping.

The compelling, digestible, and often dangerous metaphor is the star of Brown Tide Rising.

Santa Ana clearly explains that it is the mediated metaphor that embeds itself in our brains, cementing ideas and tropes. Looking at Latino metaphors in historical issues of the Los Angeles Times, he offers a new application for linguist George Lakoff’s cognitive model of metaphor, which studies how metaphors map to each other.

For instance, Santa Ana identifies “flowing waters” as one such metaphoric tie-in that joins metaphors such as tides, surges, waves. I like this book because it is a great reminder about how the images conjured by words—in this case metaphors—make us “see” the world in certain ways. 

The Race Beat quickly turns to open conflict. White-owned media wake up to the atrocities of racism. (It was way past time to pay attention. Exploring that is among the reasons I appreciate the book.) What follows seem like war movies.

We learn just how hard it was to get the story, photograph, or film; get the story out; get yourself out. Journalists for the white-owned Northern press, black-owned press, and TV networks are assaulted by enraged mobs during the Montgomery bus boycott, Central High School’s desegregation in Little Rock, Arkansas; James Meredith’s enrollment at the University of Mississippi; and Freedom Rides into Anniston and Birmingham, Alabama.

They dodge attack dogs and fire hoses in Birmingham and club-wielding ”posse men” in Selma. They persist. They make a daily record. Without them, the movement would have been “a bird without wings,” said John Lewis, Freedom Rider (and later, US senator). 

Too often, climate change debates reduce to throwing around scientific facts – how much warming, how soon will it happen, how many people will it affect, and so on. Candis Callison recognises that such arguments don’t get us very far when deciding what to do. There are different types of facts. In this book she shows why the facts about climate change that really matter in different human worlds – in corporations, in religious groups, amongst journalists, in village communities – are social facts; these are shared ‘facts’ about what climate change means to different social formations. And it is through these diverse communal facts that climate change comes to matter.