Taking an example to choose one over another By Dr Sohail ansari and material to discuss.

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 If a son of Adam had a valley full of gold, he would desire to have two. Nothing can fill his mouth except the dust (of his grave). Allah turns with mercy to him who turns to Him in repentance.” [al-Bukhari (6437) and Muslim (1049)]
Subtly crafted words to subject recipients to the subliminal appeal of a fallacious message.
·        I am no more admirer of media. It has given the coverage to cases, those are the best examples of ‘justice late is justice denied’ to tarnish the image of the judiciary. I can not give support to the media as if I have to choose between media and judiciary so I must go with the latter.

 

 

 

A good newspaper, I suppose, is a nation talking to itself. Arthur Miller

“The news isn't there to tell you what happened. It's there to tell you what it wants you to hear or what it thinks you want to hear.”
― Joss Whedon, Astonishing X-Men, Volume 2: Dangerous

News is the factual report of an evetthat thereporter sees is supposed to reportobjectivity means to report the facts exactly the same way as theyoccurred

DEFINITION OF NEWS
News has been defined differently by different experts. Some of the definitions are given below:
1.  News is anything out of the ordinary
2.  News is the unusual picture of life.
3.  News is anything that people talk about; the more it excites the greater its value. ,
4.  News comprises all current activities which are of general human interest and the best news is that which interests most of the reader.
5.  Anything that enough people want to read is news provided it does not violate the canons of good taste and the law of libel.
6.  News is like a hot cake coming straight from oven.
7.  News is the report of an event that is fresh, unusual and which is interesting to a greater number of people.
Man can subsist without newspaper but no newspaper can subsist without news. News is the spinal cord of journalism. The basic assumption of journalism is the collection, presentation and interpretation of news  which is meant to inform the people about new and novel.

Trump Attacks Warriors’ Curry. LeBron James’s Retort: ‘U Bum.’

By KEN BELSON and JULIE HIRSCHFELD DAVIS 
·         President Trump was criticized after directly inserting himself into a fiery debate about race, social justice and the role athletes play in those issues.

 Editorial

An editorial, leading article (US) or leader (UK), is an article written by the senior editorial staff or publisher of a newspaper, magazine, or any other written document, often unsigned. Australian and major United States newspapers, such as The New York Times and The Boston Globe,[ often classify editorials under the heading "opinion".

The Guardian view on British cinema: shockingly white and male

Editorial

The UK film industry is full of talent – but the figures show its stories and perspectives are limited. It’s time for change

Wednesday 20 September 2017 19.37 BST
Given the brilliance of female British talent in film, it is sometimes possible to imagine that the British film industry is well on its way to a state of gender parity. There are actors too numerous to mention, and, though fewer in number, directors too of the likes of Gurinder Chadha, Sophie Fiennes, Andrea Arnold, Lynne Ramsay and Clio Barnard. But the numbers, for the first time rigorously crunched by a team at the British Film Institute (BFI), tell a different story. British film, the figures show, is in a parlous state when it comes to representing the stories of women, to drawing on the perspectives of women, and to harnessing the talents of women behind and in front of the camera.
Female actors, for example, account for only 30% of the casts of the British films made so far this year. When the BFI looked at the overall proportion since 1913, it found the figure was virtually the same, at 32%: no progress, then, and possibly even a backsliding. The figures for women in crews are even grimmer. Only 5% of those working in music are women; only 6% of those working in photography or sound are women. It is true that the overall proportion of women behind the camera is gradually rising (34% in 2017 as opposed to 16% over the years 1913 to 2017). But progress is still painfully slow and women are more often found in what the prime minister might call “girl jobs” (hair, makeup, costumes, publicity) than “boy jobs” (director, director of photography).
Film is important precisely because it is such a powerful and compelling medium; because it is an immersive mass artform that invades our dreams and captivates our imaginations like no other. The stories told on the cinematic screen become the storylines of our inner lives: and so it matters to all of us, and to society in general, if those stories reflect the perspectives and bias of only a limited part of that society. Cinema, like the novel, gives us the chance to step into another’s shoes for a while, to understand lives different from our own: it gives us the opportunity for empathy. But it also offers us the chance to write the scripts of our own futures. In this context, even apparently trivial decisions about casting are important. In British films between 1985 and the present, only 15% of actors cast as unnamed doctors have been women (who have, on the other hand, accounted for 94% of actors cast as unnamed prostitutes).
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The BFI’s stark enumeration of the facts provides an unassailable evidence base – both of the problem itself, and of the problem’s stubborn persistence over time. Now must come action. The BFI itself must be ever more vigorous in setting benchmarks for diversity in its portfolio of supported films. It should look to the powerful example of the Swedish Film Institute, which set gender parity as an institutional goal – and saw the proportion of its supported movies directed by women rise from 29% in 2006 to 49% in 2016, with similar uplifts seen among writers and producers.
The BFI, in short, must lead by example, showing the purely commercial sector that passivity in the face of such obvious and extreme inequality is unacceptable. As the actor and producer David Oyelowo said in a powerful oration at the BFI last year, the solution to the problem of diversity is for individuals – those who have reached the point in their careers when they have the power to make decisions – to exercise choices that make a difference to the status quo. He himself has made a series of decisions to work with women directors, very often women directors of colour – including Mira Nair, Amma Asante and Ava DuVernay.

Film companies, similarly, must look to their staff, and understand that if they want to tell brilliant, fresh stories they must draw on all parts of British society. Diversity must be “baked into the foundation of where the ideas come from”, as Oyelowo has said. Now that the facts have been laid out, vague protestations that the situation is gradually improving are insufficient. Changes must be made. We will have a better cinema for it.

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