Word: journalists
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Dates: during 1950-1959
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This camera feat is only one of many extraordinary things about an extraordinary movie. Strange Deception is the first film effort of a highly controversial literary figure: 54-year-old Italian Journalist Curzio (Kaputt, The Skin) Malaparte, notorious in recent times for his shifting and often unsavory political alliances with both Fascist and Communist causes. In Strange Deception, Malaparte, who now claims to have renounced all forms of politics, has made a completely unpolitical movie which he describes as "a Christian film." It is neither pro-nor antiFascist, neither pro-nor antiCommunist; instead, with an almost religious fervor, it voices...
...sometime journalist and poet and now aide to Socialist Mayor Brauer of Hamburg, has waged a one-man campaign to remind Germans of the enormity of the Nazi crimes against Jews, helped campaign for a restitution payment ($822 million, most of it to be paid to the Israel government), persuaded thousands of Germans to sign declarations acknowledging the onus of national guilt, and launched a campaign among schoolchildren to plant 10,000 olive trees in Israel...
...proceeding." McCarthy answered him in a mocking wire, addressed to "Arthur Lawson, Editor, New York Post," since "that was Wechsler's Young Communist League name." McCarthy also remarked that he does not regard newspapermen as a "privileged" group, immune from investigation. With that, most newsmen probably agreed. No journalist of standing, not even Wechsler, was arguing that he was a member of a privileged profession. The press has not objected to congressional investigation in the past (TIME, Feb. 4, 1952). especially since journalism has had its share of Communist infiltration. The Post's editorials, under Editor Ted Thackrey...
...wore the artist's standard beret and velvet jacket, filled his room with paints, brushes, canvas and easel. But the man was no artist. He was Guglielmo Emanuel, Rome correspondent of Milan's Corriere della Sera, and one of Italy's most renowned anti-fascist journalists. For years he had been in trouble with Mussolini's police; now with the Germans in power, they were looking for him again. Emanuel decided it was time for a disguise. So, at 64, the white-haired journalist took up a brush for the first time and began painting...
...most treacherous journalistic cliches is that a news story should always "let the facts speak for themselves." Thoughtful newsmen know that the facts alone seldom can, that they speak clearly only when they are told in proper order and perspective-and thus interpreted-by an honest journalist. Nevertheless, many a U.S. editor still damns interpretive reporting and sticks to his fetish of "objectivity," though the briefest item in his newspaper may, in fact, be interpretive reporting. Last week Palmer Hoyt's Denver Post thought it time to read such editors a lecture on the facts of journalistic life. Said...