Fans pick 94 books like Getting Out Alive

The ultimate dystopia survival story .. if you can call it survival. Although its title is only 10 years after Francine Prose’s book, it was, of course, written decades earlier by Orwell, who was looking across Europe at the totalitarian Soviet Union for his inspiration.

I read this book in junior high and have returned to it many times; contemplating Orwell’s insights about the ways authoritarian politics infect societies and destroy souls is more urgent and relevant now than ever.

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.

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.

I first encountered Ed Kennedy while doing research in the AP archives and have spent the better part of a decade untangling what proved to be the biggest controversy over press coverage of the war—Kennedy’s scoop of the German surrender.

No American war correspondent was more experienced than Kennedy, who reported for the Associated Press from the Spanish Civil War until the end of World War II.

Given that Kennedy acted as an AP bureau chief in both North Africa and Paris, his memoir, written in the late 1940s but not published for sixty years, is the best insider account we have at how American reporters interacted with army public relations and censorship officials during the war.

As with physique photographs, I never associated murder with gay history, but newspapers were full of reports of it, often in coded and lewd language, as early as the 1920s. The cases were virtually identical. An older man meets a younger, attractive one and invites him home. In a fit of “homosexual panic” after the older man’s “indecent advance” toward him, the younger kills the older but, tried, is found innocent, given a light sentence, or paroled. Juries, judges, newspaper reporters, and the police engaged in and promoted such extreme homophobia. Indecent Advances helped me understand a principal excuse our society used in an attempt to cover up its hatred of gay men. 

This book was a lifesaver for me as I began to explore media-military relations about a decade ago.

Briefly but authoritatively Sweeney charts the relationship between the American military and the media from the Revolutionary War to the early twenty-first century. Sweeney, a former journalist himself, also writes well and this is a joy to read.

The subtitle suggests Sweeney’s take on the subject, and Sweeney’s work generally has been invaluable to me and this book would be the place to start for anyone interested in the subject.  

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. 

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.