A STUDY GUIDE by MArguerite O’HArA

http://www.metromagazine.com.au

ISBN 978-1-74295-185-0 http://www.theeducationshop.com.au

© ATOM 2012

Lately, when I finish an interview, most subjects have a question of their own: What’s going to happen at The New York Times? -- David Carr, New York Times journalist, Page One

Introduction

Page One: Inside the New York Times is a film about the inside workings of a major American newspaper at a time when the survival of newspa-pers is under threat from new media, and particularly the Internet. With the

Internet surpassing print as our main news source and newspapers all over the world going bankrupt, Page One chronicles the transformation of the media industry at its time of greatest turmoil.

The film gives us a close up look at the vibrant cross cubicle debates and collaborations, tenacious jockeying for on-the-record quotes and skilful page-one pitching that produce the daily newspaper. What emerges is a portrait of journalists continuing to produce

extraordinary work—under increas-ingly difficult circumstances.

The writers track print journalism’s metamorphosis even as their own pa-per struggles to stay vital and solvent. Meanwhile, editors and publishers grapple with challenges from players like WikiLeaks, new media and plat-forms from Twitter to tablet comput-ers, and readers’ expectations that news online should be free.

At the heart of the film are these ques-tions: will the fast-moving future of media leave behind fact-based, original reporting that has been the hallmark of many great newspapers and helped to define many democratic societies? What does a free press mean in prac-tice? Do we still need print newspapers such as the New York Times in the USA, The Guardian in Britain and in Australia The Sydney Morning Herald, The Age and The Australian? How can newspapers adapt to the demands of an audience increasingly likely to ac-cess news digitally?

(The New York Times is abbreviated to NYT in parts of this guide)

CurriCulum relevanCe

Page One would be suitable for senior and tertiary students of English, Journalism and Media Studies. It runs for 98 minutes. A preview of the film is available at http://www.magpictures.com/pageone/

As newspapers all over the world struggle to retain both readers and advertising in the face of the growing move to online media services, the relevance of print newspapers is being challenged. Here are some of the questions addressed in this documentary.

- Can newspapers such as The New York Times survive and even prosper by re-inventing themselves to appeal to a changing readership?

- Is there anything a newspaper can do better than many online news services? - Does the platform on which you receive and digest news and information

change the way you understand the world? - How might the experience of reading a print story in a national newspaper be

different to reading material online or on a screen?

The Newsroom

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The New York Times

Read the following information from the front page of the New York Times website.

Welcome to our company website. Here you can find out about our his-tory, our business and journalistic endeavours and how our powerful and trusted brands are committed to qual-ity news, information and entertain-ment in the U.S. and around the world. The New York Times Company is continuing to make the transition from an enterprise that operated primar-ily in print to one that is increasingly multiplatform in delivery and global in reach.

To accomplish this, we are executing on our strategy of:

• Diversifying our revenue streams, with particular focus on digital;

• Leveraging our brand strength to grow profitable circulation revenue;

• Securing strong performance on costs; and

• Managing our asset portfolio to strengthen our core operations and enhance our digital presence.

The New York Times Company (NYSE: NYT), a leading global, multimedia news and information company with 2011 revenues of $2.3 billion, includes The New York Times, the International Herald Tribune, The Boston Globe, NYTimes.com , BostonGlobe.com , Boston.com , About.com and related properties. The Company’s core pur-pose is to enhance society by creating, collecting and distributing high-quality news, information and entertainment.

Our Research & Development Group helps us monitor the changing media and technology landscape so that we can anticipate consumer prefer-ences and devise innovative ways of satisfying them. This has led to the development of new digital products across the Company and accelerated our entry onto new platforms such as mobile1.

See the range of ways in which read-ers can access the New York Times from home delivery of print edition to

apps and an exact digital edition of the printed paper which can be read on a variety of platforms at:http://www.nytco.com/shop_and_subscribe/

Student Activity

ώ Pre-viewing questions

• What is the essential function of print newspapers?

• Do you regularly read a daily newspaper?

• Which age group do you think is most likely to purchase and read newspapers today?

• Does your household regularly buy a newspaper?

• What is the principal place where you go for news?

• What is the essential difference between news as it is presented on television news and current affairs programs and in print newspapers?

• What are the main advantages in accessing news online, either through your Smartphone, iPad or similar tablet device or through your work or home computer?

• What revenue source have news-papers traditionally relied upon until quite recently?

• Should readers be prepared to pay for access to news online?

• Do you still see people read-ing print newspapers on public transport or are they more likely to be using digital devices such as tablets and mobile phones?

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priNTiNg press

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People in the film

David Carr

Media reporter for The New York TimesCarr is one of the NYT’s leading media reporters, who writes a weekly column focusing on the intersection of media with business, culture and govern-ment. He is also one of the paper’s most charismatic, iconoclastic and outspoken personalities.‘David Carr is the kind of character that a documentary filmmaker dreams of finding,’ Director Andrew Rossi says. ‘He speaks his mind and is just so counter to the expectation of a typical, straight-laced ‘Timesman.’A 25-year veteran of reporting, Carr is also known for a moving personal story, which he recounted in his bru-tally honest memoir Night of the Gun, the story of his harrowing past life as a drug addict and his journey to becom-ing a Times reporter and devoted father. A believer in what he calls ‘New York Times’ Exceptionalism,’ Carr is also one of the most passionate defenders of the values of the Times and tradi-tional journalism.

Tim Arango

Bureau Chief for the NYT in IraqDuring the course of filming, Arango volunteers to report from the war zone in Iraq. As he prepares to leave

the Times office in New York, his colleagues gather for an emotional farewell and ask their friend to return. The paper later appoints him Baghdad Bureau Chief.

Brian Stelter

Influential blogger turned reporter who now covers television and other media for the NYT. When he was 18, Brian Stelter anonymously founded the blog, tvnewser.com, which be-came indispensable reading for the broadcasting community. The New York Times uncovered his identity in a front-page story and then hired him. Stelter now covers television and other media for the paper.Having joined the Times in 2007 at age 21, Stelter represents a younger, more ‘new media’ savvy generation of re-porters raised in a digital world, ready to confront the complicated place Twitter, YouTube and social networking sites are forging in the world.

Bruce Headlam

Media desk editorA long-time veteran of the paper, Headlam was a reporter there for nine years before being promoted to the editorial position in 2007. Headlam

becomes the man straddling two worlds. He acknowledges that media is rapidly changing, but he also notes the reality at this moment in time is that ‘trees are still cut and papers are still delivered’ – and he is determined that The New York Times will live up to its values of giving readers solid, reliable, verifiable information that illuminates the inner works of media, culture, government and business so long as that continues.

Bill Keller

Executive Editor of the NYT when the documentary was made Keller is disarmingly candid about the grim and uncertain state of the news media. ‘Some days I feel we should be symbolically wearing bloody butcher smocks around the newsroom,’ he says on the eve of the staff layoffs. ‘It’s such a kind of grim undertaking.’ Keller stepped down in 2011 to return to full-time writing.

Jill Abramson

Current Executive Editor of the NYT and the first woman to be ap-pointed to this position.

Gay Talese

Author of The Kingdom and the Power, a 1969 book about the NYT. Talese was a reporter at the NYT from 1956 – 1965

Above: capTioN right: david carr

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Economic ChallengesAn October, 2011 article in the New Yorker magazine outlined the challenges

facing Jill Abramson, recently appointed Executive Editor of

the NYT.

The foremost question for the NYT is financial. Can the NYT Company, which derives more than 90% of its revenues from the Times

and the seventeen other daily newspapers it owns,

defy the bleak recent history of newspapers? The Times

Company lost money in two of the past five years, but saw its operating profit jump to $234

million last year....

The company’s digital news revenue rose 15% in the

second quarter, largely through digital subscriptions.

Abramson knows that she is going to have to turn the Times into something more than a newspaper. She must

plan for new multimedia possibilities—audio, video,

archives, and the participation of readers. Should the Times create online news programs? Should they work more closely with Twitter and Facebook? Should they publish e-books?

david carr aNd Bruce headlam

The Film

The New York Times headquarters—the building on 620 Eighth Avenue, New York, has been the headquarters of the paper since June, 2007. Designed by Renzo Piano, this striking building is one of the stars of this documentary; its soaring colourful spaces bookend the film. In 2009, the company sold and then leased back part of its headquar-ters to generate some cash.

Page One needs to be viewed in the context of declining circulation figures for print newspapers all over the world. An astonishing 2,800 U.S. newspapers have gone out of busi-ness over the last decade and the situation is similar in other parts of the world. Here is the opening paragraph of a New York Times report from April 2010 about circulation figures.

The reality facing many American newspaper publishers continues to look stark, as figures released Monday show deep circulation declines, with average weekday sales down almost 9 % since the same time last year.

In 2010 there was a 30% decline in advertising revenue on top of 17% in 2009.

This continuing trend and its implica-tions is explored in the film from differ-ent angles, while the ongoing work of the journalists continues as numbers of staff across all areas of production and editorial lose their jobs.

As you watch the film, decide whether you think it demonstrates that ‘media is essentially a technology business’ or something a bit more complex and important. What might that be?

Some of the issues confronting the newspaper in 2009 - 2010 included having to lay off staff, learning to grap-ple with the impact of Twitter, deter-mining whether they would work with the WikiLeaks material and publish it in the NYT and in what form, assess-ing the reliability of sources for stories and having to defend the paper and its continuing worth.

Student Activity

ώ Watching the film

Exploring themes and issues

Choose one of the following five areas explored in the film. Write the topic on which you have chosen to focus your attention at the top of your page and take notes about how this area is presented in the documentary.

1. The changing face and place of newspapers around the world—how are newspapers such as the NYT and others having to re-invent themselves to survive in the age of the Internet? What role can a daily newspaper play in the 21st century?

2. What is the role of print journalists in the twenty-first century? What are the ideals of great journalism? How does the work of journalists and editors matter—from Carl Bernstein of ‘Watergate’ fame to David Carr, Bruce Headlam and Brian Stelter of the NYT? How does the way they do their work matter?

3. What are the key factors, both economic and cultural, that have resulted in a fall in news-paper revenue and sales—is

it just about competition from the Internet?

4. Outline some of the impor-tant stories that the NYT has covered?

5. What can newspapers with a long tradition of reporting provide that is different to much of the material published online, from bloggers and others who post on various platforms? What role do generators of content and comment on platforms such as Twitter, Facebook and YouTube play in the news media landscape?

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Introduction

For the making of Page One: Inside the New York Times, director Andrew Rossi and producer Kate Novack gained unprecedented access to the New York Times newsroom and the inner workings of the paper’s media desk. As their paper struggles to stay vital and solvent, Times writers like Brian Stelter, Tim Arango and David Carr track print journalism’s metamorphosis, even while their editors and publishers grapple with emerging issues, such as controversial new sources and the implications of an online pay-wall.

In this interview, Rossi and Novack tell TakePart about making their documentary and what they hope audiences will walk away with after seeing the film.

TakePart: Why spend a year with the NYT? What inspired you to make the movie?

We saw newspapers across the country folding, bureaus closing and journalists losing their jobs. At the same time, new media platforms like Twitter were becoming household names. So it was clearly this moment of both peril and opportunity for journalism. The idea was to witness the transformation through the prism of the journalists who cover the media for the Times. But we never imagined that our year inside the Times would include the emergence of WikiLeaks as such a force in the news landscape, or give us a front row seat as the Times uncovered the bankrupt culture at the Tribune Company. TakePart: What are your favourite news sources?

We are both completely addicted to Twitter—but often end up linking to a story from the ‘legacy’ media like The New York Times. The movie looks at how new and old media are colliding, but also how they’re converging. TakePart: What do you think the future of journalism looks like?

That story is still being written. The movie really aims to ask a lot of questions—are we on the path to a richer news landscape or are we entering a halcyon era for political and corporate corruption? How can readers sort through fact and fiction in an increasingly fast-paced and crowded news environment? How will journalism sustain itself financially?

TakePart: What is your favourite moment of the film? Favourite part to film?

Andrew: My favourite day of filming was the reporting of the New York Times’ first big WikiLeaks story. I arrived in the newsroom to find Brian Stelter, the former blogger who now covers media for the paper, hovered over his computer watching the video of a U.S. Apache helicopter shooting down two Reuter’s journalists and several Iraqi civilians. It had just been leaked by WikiLeaks. The talk in the newsroom was all about how the leak was a modern-day version of the Pentagon Papers—and an example of how the Times wasn’t the all-powerful presence it once was. That story evolved over the course of the year, but it was clear that day that something big had happened.

Kate: I love when David Carr, the outspoken 53-year-old media columnist, and his 20-something sidekick Brian Stelter banter at their desks about their career futures given the dismal financial state of print media. ‘You better hope they figure it out,’ Carr tells Stelter. ‘You’ve got like 40 more years. But if we got our heads chopped off today, we just have to figure out, what, like 15 more years.’ It’s one of those quiet workaday moments that’s so telling; it’s an example of the uncertainty that journalists across the country are dealing with. TakePart: What most surprised you while you were making the movie?

It was clear from the outset that newspapers were facing difficult financial times. What became clearer over the course of filming was the degree to which new platforms like WikiLeaks and Twitter would really shape the way we as a culture consume and internalize and process information. To some extent, the financial pressures have eased up since we started filming, but the questions about where news will come from in the future remain. TakePart: What do you want audiences to do/think about after they see the movie?

We want them to keep asking themselves the big questions: How can I sort through fact and fiction in the age of fast news? Do I know where my news is coming from? How will original reporting sustain itself in the future?

http://www.takepart.com/blog/doc/2011/05/18/kate-novack-and-andrew-rossi-page-one-filmmakers-talk-news-and-new-york-times

Q & A with Andrew Rossi and Kate Novack talking to TakePart* about their year at

the New York Times

(* Participant Media—Take Part’s parent company—acquired Page One: Inside the New York Times at the Sundance Film Festival and is releasing the film theatrically with Magnolia Pictures)

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Student Activity

ώ After watching the film

1. The stories

‘Journalism is just a tool and we use that tool to reach a goal. That goal is justice’—Julian Assange of WikiLeaks.

‘The basic calculus that you try to do in your head {in relation to publishing the WikiLeaks US military documents} is the trade-off to give people the information about how they’re being governed and on the other hand to ac-knowledge the government’s need for security’—Bill Keller, Executive Editor NYT in 2010.

• Where was the WikiLeaks video of the killing of 12 people in Iraq in 2010 originally posted and broadcast?

• How was this different to Daniel Ellsberg’s release of the Pentagon Papers in 1971?

• What is the process that takes place at the daily editorial meet-ings when editors and journalists from different areas of the news-paper pitch for page one position? What are some of the questions they are expected to address?

• Why do media stories such as the merger of CNN and Vice Media, the Comcast cable television com-pany merging with NBC (a large free-to-air television company) and the collapse of the Tribune Media Company, matter? What do these stories reveal about the changing media landscape?

• What are some of the mistakes made at the NYT, ‘fabricated journalism’, which have tarnished its claim to being an exemplar of thorough and honest journalism?

• A business model is one that makes a profit. Why is it pretty well impossible for investigative report-ing to be a profitable enterprise for newspapers?

2. The changing landscape

‘We need institutions that have the ability, both financially and culturally, to bring news that other institutions

and individuals cannot’ — Carl Bernstein, Washington Post journalist

• Outline the different forms of media today that are competing for our attention and our dollar?

• How have traditional retail outlets for consumer goods been affected by the growing trend for people to purchase online?

• Why is funding from advertis-ers less of a problem for tel-evision companies than it is for newspapers?

• What do you understand by the term ‘advertorial’? Give some ex-amples of how it operates, particu-larly on television and also in print publications.

• What does the popularity of media such as Twitter and YouTube sug-gest about the kind of exchanges

and experiences many people like to access online?

• How has a reluctance to fully en-gage with new media and younger people part of the reason for news-papers facing hard times?

• What ‘content’ would you be prepared to pay for online and how much would you be prepared to pay?

• Research how much it costs to subscribe to a newspaper home-delivered such as the Age or Sydney Morning Herald per week? What might this daily dose offer to people that may not be the same experience as reading online.

• Why do you think sales of Sunday newspapers are falling at a slower rate than daily newspapers? What content do Sunday papers often include that is likely to appeal to weekend readers?

• How important do you think it is for journalists and sub-editors to ‘fact-check’ stories to be published in print or online?

• In an age of ‘spin’ where open ac-cess to many places and organisa-tions is limited by governments and corporations, where informa-tion is often withheld or carefully managed and massaged, how difficult is it for journalists to ac-curately report what is happening? What do we see of these difficul-ties in Page One?

3. So you want to be a journalist

• How do the journalists in this film demonstrate the ideals enunciated by Adolph Ochs, owner and pub-lisher of the New York Times, more than 100 years ago?

• What do you understand by ‘the journalist’s code of ethics’?

• What are some of the core be-liefs of the journalists expressed throughout the film?

• How did individuals become jour-nalists in the time before it became almost a pre-requisite to complete a degree course or a media stud-ies or journalism course? What avenues for being paid to work in media still exist?

• What skills remain essential to becoming a working journalist?

It will be my earnest aim that The New York Times

give the news, all the news, in concise and attractive form,

in language that is permissible in good society, and give it as

early if not earlier, than it can be learned through any other reliable medium; to give the

news impartially, without fear or favour, regardless of party, sect, or interest involved; to make of the columns of The

New York Times a forum for the consideration of all questions of public importance, and to that end to invite intelligent discussion from all shades of

opinion.

Adolph Ochs, owner and publisher of the New York

Times, 1896

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wake of this scandal. What does this practice of illegally spying on and publicising private details of people’s lives suggest about the culture of some news organisa-tions and the interests of their readers? Would you support a news organisation that used this approach to creating, concocting and selling news stories?

• How far should journalists go to secure a story and images for their news organisation?

• Why is a free press important in a democracy?

• Does freedom to publish also entail any responsibilities?

• Name some countries that do not allow journalists to publish what they believe is important. How do citizens in these places find out what is really going on in their country or further afield?

• Do you agree with Bruce Headlam’s view that the newspa-per business ‘is still an old-school business—trees are cut down, papers are still delivered’. What has changed since the heyday of newspapers in the 1940s and 1950s?

• Can a newspaper give readers ‘what they want’ at the same time as it embodies higher ideals of tell-ing stories that really matter, or are these areas incompatible?

• Participant Media, the produc-tion company behind Page One, have a campaign on their website called Consider the Source. See http://www.takepart.com/pageone. Their campaign for promoting the film focuses on the importance of knowing the original source of the news you read, watch, hear and tweet and the difference between original reporting and commentary.

ProPublica is a non-profit corporation based in New

York City. It describes itself as an independent non-profit

newsroom that produces investigative journalism in

the public interest. In 2010 it became the first online news

source to win a Pulitzer Prize, for a piece written by one of

its journalists and published in The New York Times Magazine as well as on ProPublica.org.

ProPublica’s investigations are conducted by its staff of full-time investigative reporters and the resulting stories are

given away to news ‘partners’ for publication or broadcast.

Read about ProPublica at: http://www.propublica.org/about/

To be a good journalist you’ve got to really believe in it, you’ve got to believe in this concept of the Fourth Estate*, that we’re

holding corporations and governments accountable, and if you don’t believe it, don’t do it

Stephen McDonell, ABC Australia China correspondent

* The term Fourth Estate refers to the press. The term goes back at least to Thomas Carlyle in the first half of the 19th century. Thomas Macaulay used it in 1828.

Novelist Jeffrey Archer in his work The Fourth Estate made the observation: ‘In May 1789, Louis XVI summoned to Versailles a full meeting of the ‘Estates General’. The

First Estate consisted of three hundred clergy. The Second Estate, three hundred nobles. The Third Estate, six hundred commoners. Some years later, after the French Revolution, Edmund Burke, looking up at the Press Gallery of the House of Commons, said, ‘Yonder

sits the Fourth Estate, and they are more important than them all.’

What additional skills do journalists in the 21st century need to have?

• How can and do individuals make money through blogging online?

• ‘The more things change, the more things stay the same’. What are some of the constants in the day-to-day life of a working journalist?

• What is the difference between ed-itorial, opinion pieces and straight news stories in a newspaper?

• Why is investigative reporting and informed analysis of information as important today as it has been in the past?

• Should news stories deal with the ’how’ and ‘why’ as well as the ‘who’, ‘where’, ‘when’ and ‘what’?

• Recently some of Rupert Murdoch’s News Limited news-papers in Britain, particularly the News of the World, Britain’s high-est selling Sunday tabloid, have been embroiled in phone-hacking scandals. The News of the World was shut down by Murdoch in the

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How is it possible for readers to know and check the source of news? Read the interview with the Page One filmmakers on page X of this guide.

Student Activity

The style of the film

Fly-on-the-wall scenes at the newspa-per’s offices are interwoven with direct to camera interviews where journalists talk about their work and how best to survive and prosper in the age of the Internet. We see the reporters en-gaged in their day-to-day work as they attempt to cut through the spin, half-truths and lies that are pedalled daily. We also hear from others who have watched the changes to newspapers and media over the years.

• How would you describe the struc-ture of this film?

• What narrative style does it employ? Is it a linear narrative or does it weave together a number of different strands? Does the film have a single unifying idea, central theme or main character?

• How is the energy and sometimes chaotic activities of the newspaper office conveyed in the way the film is constructed and edited?

• What questions did you take away

from this film?• Which scenes did you find most

revealing about how an organisa-tion like a newspaper operates on a daily basis?

• How would you describe the un-derlying message of the film? Is it essentially an optimistic picture of what is happening in media? Does it suggest ways newspapers can remain relevant and profitable as businesses?

• Write a 200 word piece previewing this film for a television audience. Which areas would you choose to emphasise as the strengths of the film?

Student Activity

Investigating a newspaper in Australia

Use a search engine to go to the site of one of your state’s daily news-papers such as The Courier Mail in Queensland, The Advertiser in South Australia or The Sydney Morning Herald in NSW and find out as much informa-tion about the paper as the site offers.

• What is the daily circulation of the paper?

• Does it offer home delivery?• What is the cost of subscribing to

a paper edition of the newspaper?• Is there an online version and is

this able to be accessed free or by paid subscription? How much does it cost to have full access?

• What advertising appears on the website?

• Are there links to Facebook and Twitter to recommend stories?

• Is there an app available to down-load to your iPad or other tablet? Does this offer a complete version of the daily paper or an edited ver-sion? What does it cost?

• Who owns this newspaper?• Does the managing company have

ownership of other media such as television stations, magazines and radio stations? Are these other interests national or international?

• Does the paper run classified advertisements, either in print or online?

• What are some of the companies, businesses and retail outlets that

The Filmmakers: key Crew oF Page One

Director Andrew Rossi

Writers Kate Novack and Andrew Rossi

Director of Photography

Andrew Rossi

Editors Chad Beck, Christopher Branca and Sarah Devorkin

Music Paul Brill

Producers Kate Novack, Andrew Rossi, Josh Braun, David Hand, Alan Oxman and Adam Schlesinger

aNdrew rossi, direcTor

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figure most prominently in their pages?

• Do the ads have a connection to the content on that page or pages?

• Compare the three most popular stories of the day as listed on the paper’s website with those of a dif-ferent newspaper, i.e. are the most popular stories in the Sun-Herald the same as those in the Sydney Morning Herald?

• Is a particular political position apparent in the tone, style and headlines used in the newspaper?

• Would you choose to access and select news from this paper online or would you rather have it in newsprint form?

• Do you have any interest in politi-cal news stories? - Do you have an interest in

particular news stories—sport, technology, food, crime, busi-ness, gaming, etc.?

- Do these stories reflect your interests and concerns?

- Do you expect all news to be entertaining?

• Overall, was the newspaper website you explored easy to navigate, informative and worth visiting?

Resources, references and reviews

The New York Times website includes its mission statement and other information about its priorities for

the future http://www.nytco.com/company/

Magnolia Pictures website where you can watch a preview of the film and download the Press Kit http://www.magpictures.com/pageone/

Forbes magazine interview with Bill Keller after he announced he was resigning as Executive Editor of the NYT http://www.forbes.com/sites/jeffbercovici/2011/06/02/ny-times-editor-bill-keller-the-exit-interview/

An April, 2010 article from the NYT about declining circulation figures http://www.nytimes.com/2010/04/27/business/media/27audit.html

A video interview with David Carr on YouTube talking about the mak-ing of the film and the range of available media platforms such as Twitter http://www.youtube.com/watch?v=NjgjggJeVbU

ProPublica’s website outlining its views about the importance of investigative journalism http://www.propublica.org/about/

Participant Media’s Social Action Plan for Page One http://www.takepart.com/pageone

Journos (Paul Roy), 2009 SBS docu-mentary series ATOM study guide available This fascinating series follows five international journalists as they file stories from some of the world’s

most dangerous locations world-wide. We meet a different journalist in each half-hour episode and learn about what journalists go through to get a story delivered on deadline. They must be highly adaptable, thick skinned, persistent and able to manage their fears and frustrations in difficult and sometimes danger-ous situations. At one of the most volatile times in modern history these are their stories from China, Malaysia, Afghanistan, Pakistan, Cambodia, Iraq and the USA.

Reviews of Page One can be found at:

http://www.thedailybeast.com/arti-cles/2011/01/24/page-one-a-year-inside-the-new-york-times-film-review.html

http://movies.nytimes.com/2011/06/17/movies/page-one-inside-the-new-york-times-review.html?pagewanted=print

http://www.guardian.co.uk/film/2011/sep/22/page-one-new-york-times-film-review

http://www.metacritic.com/movie/page-one-a-year-inside-the-new-york-times/critic-reviews

27th May, 2012

(Endnotes)1 http://www.nytco.com/company/

This study guide was produced by ATOM. (© ATOM 2012) ISBN 978-1-74295-185-0 editor@atom.org.au

For information on ScREEn EducATIon magazine, or to download other study guides for assessment, visit <http://www.metromagazine.com.au>.

Join ATOM’s email broadcast list for invitations to free screenings, conferences, seminars, etc. Sign up now at <http://www.atom.asn.au/lists/>.

For hundreds of articles on Film as Text, Screen Literacy, Multiliteracy and Media Studies, visit <http://www.theeducationshop.com.au>.

Study guide designed by Pascale van Breugel

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