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Journalism's future is in global dialogue

Mark Bowden

Just about 10 years ago, when I was working to present a 29-part serialization in The Philadelphia Inquirer of what would become my book Black Hawk Down, we had some discussions about presenting the story at the same time on the paper's Web site.

At the time, it seemed like a fairly simple task. To the extent I thought about it at all, I figured it meant we would just display the text of the story each day online, along with the rest of the paper's offerings. That was when Jennifer Musser (now Jennifer Musser-Metz), a young woman who worked for the online edition, stopped by my desk to ask me what sort of research material and documentation I had for the project.

I had been working on it for years at that point, and had piles of audiotapes, notes, documents, radio transcripts, photos, etc.

"Could you bring them in?" she asked.

I brought in bags of stuff, and Jennifer and the other folks at Philly.com put together a Web site.

I can brag about this Web site because, other than writing the story and supplying the background material, I had nothing to do with creating it. It blew me away. When I started in the newspaper business, I learned to work on a typewriter with carbon paper, paste pot and scissors. Jennifer's creation combined text, video, audio, documents, maps, illustrations and a sprawling Q&A feature into something that was more than an amazing presentation -- it was a glimpse of journalism's future. It demonstrated the clear superiority of the Internet over the printing press.

In the case of Black Hawk Down, apart from all the multimedia razzle-dazzle, it opened up a global dialogue with readers, including men who had fought in the battle. They corrected my mistakes, pointed me to better information, and offered to be interviewed, allowing me to improve greatly on the story before it was published as a book in 1999. Mine may have been, thanks to Jennifer, the first book that ever benefited from this new journalistic tool. In a sense, the story was edited by the entire world.

But little has happened in the 10 years since. Surprisingly, the site Jennifer created is still in the vanguard of Internet story presentation.

I wrote recently that I believe newspapers, despite their current hard times, will ultimately survive. I think the print edition will probably endure to some extent, but, without any doubt, the future of daily journalism is digital, not because it is the latest thing, but because it is, quite simply, a far better medium than paper and ink.

Right now, the technology is still in its infancy. Video and audio links have improved a great deal in the last decade, but remain primitive, with annoying download delays for all but the fastest computers, and often with herky-jerky quality on screens no bigger than those on iPods. Most newspaper sites are little more than Web editions of the paper product, and more difficult to use. They are a little bit like early movies, in which the director essentially filmed a stage play. But because journalism itself has value, eventually publishers will work out the profit problem. The multimedia aspect will grow seamless. What will news sites look like then?

"A short answer is that they will probably look like a lot of things; there won't be one single form," said Don Kimelman, a former Inquirer editor who today, as a managing director for the Pew Charitable Trusts, has overseen initiatives to explore this very question. "There is a lot of experimentation right now, but the old media still govern the new media. The best sites are run by the traditional dominant news organizations. While everyone recognizes that the future of news is online, for now the advertising money is considered insufficient for the real pioneers to take the plunge."

When they do, I suspect news sites will open with a bang, displaying the most powerful video image of the day in the way editors have long chosen the day's most dramatic or informative still images to anchor Page One. In that sense, they will look more like TV news than a newspaper -- with this difference: All these production values will lead into detailed written stories.

Unlike with TV and radio, which are stuck with people reading out loud, customers of digital journalism will get the best of all media forms. They can wade into any story that attracts them as deeply as they wish. Readers will gravitate toward prose, while those who prefer sounds and images can simply watch and listen. The digital report will not be locked into the strict chronological format of TV and radio news, but will be much more like a newspaper, which permits you to begin with sports and weather, if you wish, or go right to the editorials or comics.

The old idea of reporters covering a beat might well be replaced by an online reporter/editor who oversees a subject area driven by the entire community -- a constantly updating police blotter or transit map, for instance. Digital thinkers refer to this as a pro-am (professional-amateur) model, in which the reporter is corrected, tipped off and guided -- just as I was with "Black Hawk Down" -- by the expertise of his readers. Blog sites offer a rudimentary working model.

Old fuddy-duddies like me will still want their news on paper and in the driveway every morning, but we won't live forever, and already two of the biggest newspapers in America -- the New York Times and the Washington Post -- are reaching more customers online than in print.

I advise young journalists today to learn how to use a digital video camera, and to get used to working in multimedia. Nearly every story I write today for the Atlantic, and every book I undertake, I do in conjunction with a documentary filmmaker. This results in a documentary version of the story, which can be marketed to TV but also compiles the audio and video needed to produce a Web presentation comparable to Jennifer Musser-Metz's "Black Hawk Down" project.

If a dinosaur like me can do that, just think what a creative young mind raised in front of a video screen and keyboard will come up with. I literally can't imagine.

___

ABOUT THE WRITER

Mark Bowden is author of Guests of the Ayatollah: The First Battle in America's War with Militant Islam. He wrote this for The Philadelphia Inquirer; e-mail: mbowden AT phillynews dot com.

From drunken masters to rumbles in the Bronx, Jackie Chan's career is chock full of goofs and kicks. These ten films capture what makes Chan so magnetic.

Jackie Chan got his first film role way back in 1976, when a rival producer hired him for his obvious action prowess. Now, nearly 40 years later, he is more than a household name. He's a brand, a signature star with an equally recognizable onscreen persona. For many, he was their introduction into the world of Hong Kong cinema. For others, he's the goofy guy speaking broken English to Chris Tucker in the Rush Hour films.

From his grasp of physical comedy to his fearlessness in the face of certain death (until recently, Chan performed all of his own stunts) he's a one of a kind talent whose taken his abilities in directions both reasonable (charity work, political reform) and ridiculous (have your heard about his singing career?).

Now, Chan is back, bringing the latest installment in the long running Police Story franchise to Western shores (subtitled Lockdown, it's been around since 2013), and with it, a reminder of his multifaceted abilities. He's not just an actor. He's also a stunt coordinator and choreographer, a writer, a director, and most importantly, a ceaseless supporter of his country's cinema. With nearly four decades under his (black) belt, it's time to consider Chan's creative cannon. Below you will find our choices for the ten best pictures Jackie Chan's career, everything from the crazy to the classic. While he stuck to formula most of the time, no one made redundancy seem like original spectacle better than he.

Let's start with an oldie but goodie:

10. Operation Condor (Armour of God 2)

Two years after the final pre-Crystal Skull installment of the Indiana Jones films arrived in theaters, Chan was jumping on the adventurer/explorer bandwagon with this wonderful piece of movie mimicry. At the time, it was one of the most expensive Hong Kong movies ever made ($115 million, which translates to about $15 million American). Taking the character of Asian Hawk and turning him into more of a comedic figure would be the way in which Chan expanded his global reach, realizing that humor could help bring people to his otherwise over the top and carefully choreographed fight films -- and it's obviously worked.

9. Wheels on Meals

They are like the Three Stooges of Hong Kong action comedies, a combination so successful that it's amazing they never caught on around the world. Chan, along with director/writer/fight coordinator/actor Sammo Hung and Yuen Biao, all met at the Peking Opera, where they studied martial arts and acrobatics. They then began making movies, including this hilarious romp involving a food truck, a mysterious woman, and lots of physical shtick. While some prefer their other collaborations (Project A, Lucky Stars), this is their most unabashedly silly and fun. Hung remains one of the most underrated directors in all of the genre.

8. Mr. Nice Guy
Sammo Hung is behind the lens again, this time dealing with Chan's genial chef and a missing mob tape. Basically, an investigative journalist films something she shouldn't, the footage gets mixed up with some of our heroes, and a collection of clever cat and mouse chases ensue. Perhaps one of the best sequences in all of Chan's career occurs in a mall, when a bunch of bad guys come calling to interrupt a cooking demonstration. Most fans have never seen the original film. When New Line picked it up for distribution, it made several editorial and creative cuts. A Japanese release contains the only unaltered version of the effort.

7. Who Am I?

Amnesia. An easy comedic concept, right? Well, leave it to our lead and collaborator Benny Chan (no relation) to take this idea and go crazy with it. The title refers to Chan's post-trauma illness, as well as the name given to him by natives who come across his confused persona. Soon, everyone is referring to our hero by the oddball moniker while major league action set pieces fly by. While Chan is clearly capable of dealing with the demands of physical comedy and slapstick, this is one of the rare occasions when the laughs come from character, not just chaos.

6. Rumble in the Bronx

For many, this was the movie that broke Chan into the US mainstream. Sure, before then, he was a favorite of film fans with access to a video store stocking his foreign titles, but this is the effort that got the attention of Joe and Jane Six Pack. Naturally, as they did with almost all his films, New Line reconfigured it for a domestic audience, and found itself with a huge hit on its hands. Chan purists prefer the original cut, including the cast voices sans dubbing. It was thanks to Rumble that Chan would go on to have a lengthy run in Tinseltown, including those annoying Rush Hour films.

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