New Journalism, American literary movement in the 1960s and ’70s that pushed the boundaries of traditional journalism and nonfiction writing. The genre combined journalistic research with the techniques of fiction writing in the reporting of stories about real-life events. The writers often credited with beginning the movement include Tom Wolfe, Truman Capote, and Gay Talese.
As in traditional investigative reporting, writers in the genre immersed themselves in their subjects, at times spending months in the field gathering facts through research, interviews, and observation. Their finished works were very different, however, from the feature stories typically published in newspapers and magazines of the time. Instead of employing traditional journalistic story structures and an institutional voice, they constructed well-developed characters, sustained dialogue, vivid scenes, and strong plotlines marked with dramatic tension. They also wrote invoices that were distinctly their own. Their writing style, and the time and money that their in-depth research and long stories required, did not fit the needs or budgets of most newspapers (a notable exception was the New York Herald Tribune), although the editors of Esquire, The New Yorker, New York, and other prominent magazines sought out those writers and published their work with great commercial success. Many of those writers went on to publish their stories in anthologies or to write what became known as “nonfiction novels,” and many of those works became best sellers.
The New Journalists expanded the definition of journalism and of legitimate journalistic reporting and writing techniques. They also associated journalism with fiction when they described their work with phrases such as “nonfiction novel” and “narrative techniques of fiction.” In so doing, they ignited a debate over how much like a novel or short story a journalistic piece could be before it began violating journalism’s commitment to truth and facts.
Some observers praised the New Journalists for writing well-crafted, complex, and compelling stories that revitalized readers’ interest in journalism and the topics covered, as well as inspiring other writers to join the profession. They feared that reporters would be tempted to stray from the facts in order to write more dramatic s Others, however, worried that the New Journalism was replacing objectivity with a dangerous subjectivity that threatened to undermine the credibility of all journalism stories, by, for example, creating composite characters (melding several real people into one fictional character), compressing dialogue, rearranging events, or even fabricating details. Some New Journalists freely admitted to using those techniques, arguing that they made their stories readable and publishable without sacrificing the essential truthfulness of the tale. Others adamantly opposed the use of those techniques, arguing that any departure from facts, however minor, discredited a story and moved it away from journalism into the realm of fiction.
In engaging in the debate over what counts as truth in journalism, the New Journalists were contributing to a wider discussion of the nature of truth and the ability to know and present it objectively in stories, paintings, photographs, and other representational arts. Their works challenged the ideology of objectivity and its related practices that had come to govern the profession. The New Journalists argued that objectivity does not guarantee the truth and that so-called “objective” stories can be more misleading than stories told from a clearly presented personal point of view.
All of the following statements can be inferred from the passage EXCEPT:
New Journalism, American literary movement in the 1960s and ’70s that pushed the boundaries of traditional journalism and nonfiction writing. The genre combined journalistic research with the techniques of fiction writing in the reporting of stories about real-life events. The writers often credited with beginning the movement include Tom Wolfe, Truman Capote, and Gay Talese.
As in traditional investigative reporting, writers in the genre immersed themselves in their subjects, at times spending months in the field gathering facts through research, interviews, and observation. Their finished works were very different, however, from the feature stories typically published in newspapers and magazines of the time. Instead of employing traditional journalistic story structures and an institutional voice, they constructed well-developed characters, sustained dialogue, vivid scenes, and strong plotlines marked with dramatic tension. They also wrote invoices that were distinctly their own. Their writing style, and the time and money that their in-depth research and long stories required, did not fit the needs or budgets of most newspapers (a notable exception was the New York Herald Tribune), although the editors of Esquire, The New Yorker, New York, and other prominent magazines sought out those writers and published their work with great commercial success. Many of those writers went on to publish their stories in anthologies or to write what became known as “nonfiction novels,” and many of those works became best sellers.
The New Journalists expanded the definition of journalism and of legitimate journalistic reporting and writing techniques. They also associated journalism with fiction when they described their work with phrases such as “nonfiction novel” and “narrative techniques of fiction.” In so doing, they ignited a debate over how much like a novel or short story a journalistic piece could be before it began violating journalism’s commitment to truth and facts.
Some observers praised the New Journalists for writing well-crafted, complex, and compelling stories that revitalized readers’ interest in journalism and the topics covered, as well as inspiring other writers to join the profession. They feared that reporters would be tempted to stray from the facts in order to write more dramatic s Others, however, worried that the New Journalism was replacing objectivity with a dangerous subjectivity that threatened to undermine the credibility of all journalism stories, by, for example, creating composite characters (melding several real people into one fictional character), compressing dialogue, rearranging events, or even fabricating details. Some New Journalists freely admitted to using those techniques, arguing that they made their stories readable and publishable without sacrificing the essential truthfulness of the tale. Others adamantly opposed the use of those techniques, arguing that any departure from facts, however minor, discredited a story and moved it away from journalism into the realm of fiction.
In engaging in the debate over what counts as truth in journalism, the New Journalists were contributing to a wider discussion of the nature of truth and the ability to know and present it objectively in stories, paintings, photographs, and other representational arts. Their works challenged the ideology of objectivity and its related practices that had come to govern the profession. The New Journalists argued that objectivity does not guarantee the truth and that so-called “objective” stories can be more misleading than stories told from a clearly presented personal point of view.
All of the following statements can be inferred from the passage EXCEPT:
Option 1 -
Traditional investigative reporting has lost its way after new journalism adaptation
Option 2 -
Most of the fictional work of writers was sold with great commercial success by prominent
Option 3 -
People who opposed new journalism feared that it may tempt the writers to drift from the facts
Option 4 -
New journalism was supporting narrative techniques of fiction which was objective in nature.
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1 Answer
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Correct Option - 4
Detailed Solution:Negation to the last option has been given in the following lines “Others, however, worried that the New Journalism was replacing objectivity with a dangerous subjectivity that threatened to undermine the credibility of all journalism stories, by, for example, creating composite characters”.
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