Rami al Sayed, a citizen journalist in Homs who had been live streaming attacks on the city using his cell phone, was killed this week. Hours later, two foreign journalists, Marie Colvin and Remi Ochlik were killed in an apparent attack on a makeshift media center. Brooke and Bob talk about the distressing situation faced by anyone trying to report on Syria, from digital activist to professional journalist.
Jafar Panahi is an award-winning Iranian director who was recently given a six-year jail sentence and a twenty-year filmmaking ban for what his government has called propaganda against the state. In response, he’s made a movie. It’s called This is Not a Film, and he shot it in his apartment on a digital camera and an iPhone. Fellow Iranian filmmaker Jamsheed Akrami talks to Bob about the non-film, which was smuggled out of Iran in a cake.
The prospect of attacking Iran is making its way back into the media and political discourse, despite the fact that national security experts think a pre-emptive strike would be a bad idea. Brooke speaks to New York Times reporter Scott Shane about why talk of war is on the rise.
Hollywood can conjure realistic car chases, wars, and alien invasions. When it comes to a simple evening newscast, however, the results are almost always unconvincing. Bob speaks with a TV critic, a TV news director, an Onion News Network writer, and two directors to find out why Hollywood gets it wrong.
In 2005, The Believer Magazine paired a contributing writer with a fact checker. Seven years later some version of their epic, contentious back and forth; first about facts, then about the genre of non-fiction and finally about the nature of truth itself – is a book. Essayist John D’Agata and erstwhile fact-checker Jim Fingal speak with Brooke about The Lifespan of a Fact.
Originally released in 1978, Faces of Death became a cult sensation with gruesome depictions of actual deaths, and sensational staged scenes where real footage couldn't be found. Brooke Gladstone talks to Faces of Death creator John Alan Schwartz about the movie's lasting effect and how "real" a film can be when nearly half of it was faked.