![]() In 2016, as the laughter of Trump’s Presidential campaign gave way to incredulity over its triumph, archival searches from the twenties and thirties came into vogue. This genre of comparison can be ahistorical and logically flawed. In his new book, “ Berlin, 1933,” Daniel Schneidermann, a French media critic and the founder of Arrêt sur Images, a French analogue to Media Matters for America, examines the work of American, British, and French correspondents posted in Berlin in the nineteen-thirties, to investigate how acutely the foreign press understood the threat of Nazism. If reporters do engage, what is to be done about the strong desire to condemn their subjects? But that could preclude us from understanding the social circumstances that led to someone such as Richard Spencer, a figurehead of the alt-right, attaining a platform in the first place. There is a strong argument to be made that anyone who professes bigotry and hatred doesn’t deserve to be considered seriously, let alone objectively. and Europe, it may be difficult to shake the feeling that this is somehow irresponsible. ![]() For many journalists reporting on the new right in the U.S. People wanted facts, they wanted them “verified,” and, though they wanted some background and context, they mostly wanted to be allowed to come to their own conclusions. ![]() Times story on the sartorial normalcy of the white-nationalist movement-without always knowing exactly what they are seeing or how to handle it.Ī survey published last summer by the American Press Institute revealed that forty-two per cent of the public thinks that “most of the news reporting they see is opinion and commentary posing as news reporting.” An additional seventeen per cent said that there was too much analysis. With the discomfort and confusion that it provoked, the Esquire story joined a series of public controversies surrounding the media’s efforts to capture a new American political reality-far more extreme cases include “the Nazi sympathizer next door,” published by the New York Times after Charlottesville, and an L.A. Others felt that the story failed to apply critical pressure to its youthful subject’s internal ruminations on such topics as Internet feminism and the #MeToo movement. It appeared on the cover of the March issue, which was released in February-Black History Month-under the billing “An American Boy.” Many commentators on Twitter decried the magazine’s decision to kick off its series on growing up in America today through the lens of a straight white male. A few weeks ago, a six-thousand-word article in Esquire on the unexceptional life of a white teen-ager in peri-urban Wisconsin generated a furious online backlash.
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