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By Anthony Collings

 Anthony Collings discovered himself in his percentage of inauspicious events in his thirty-four years as a newsman. Like being captured by means of AK-47–toting Syrians in Lebanon in 1981 whereas searching for missiles that threatened a brand new outbreak of hostilities with Israel, or being “detained” by means of the KGB in Moscow in 1967 in the course of his first international posting for the linked Press submitting tales approximately Soviet dissidents.

Name a scorching spot, and Collings has most probably been there. From AP correspondent to Newsweek bureau leader to CNN reporter, he lined the center East, Rome, Moscow, London, Paris, and Washington. Now he has accumulated tales approximately his paintings in a booklet that's either a journalist’s memoir and a statement at the present moral crises within the information media and the way to handle them. 



Brimming with wonderful tales approximately journalism, specially the chaotic early years at CNN while he and his colleagues validated the 1st significant cable information community, Collings’s publication unearths the hazards and pressures of masking the inside track and the problems of overcoming hindrances to the truth. He remembers smuggling tapes out of Poland after the Communists had imposed martial legislations; flying dangerously close to Libya’s “Line of Death”; interviewing international figures from Brezhnev to Kaddafi and Arafat; and profitable awards for protecting Iran-Contra and the Oklahoma urban bombing. Collings brings clean insights to the Oliver North affair and examines how the clicking was once suckered in its assurance of the Jessica Lynch prisoner-of-war tale in 2003. He voices his matters concerning oversimplified reporting of complicated concerns and poses provocative questions about masking terrorism.


In this publication, Collings provides an insider’s appraisal of the yank information media’s failings and accomplishments. effortless to learn, informative, and considerate, Capturing the News will enlighten common readers attracted to how newshounds disguise present affairs, whereas delivering newsmen nutrients for considered the craft and ethics of journalism.


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Extra resources for Capturing the News: Three Decades of Reporting Crisis and Conflict

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While Ron was shooting the protest display, there was a knock on our door. I opened it to find two plainclothes police officers who spoke English. I spoke in a loud voice to warn Ron what was happening. While I stalled for time asking the police what they wanted, Ron ejected the videotape from his camera and put a blank one into the camera in its place and then went into the bathroom and hid the tape in the ceiling. The police demanded that I let them in the room. Reluctantly, once I had seen that Ron was done, I opened the door wider and let them in.

We had a belated Christmas celebration at our three-story apartment in the northern suburb of La Giustiniana, a wonderful place with a tile roof and wrought-iron balcony railings and a view eastward of a small valley with Italian houses and small farms and cypresses and pines, bright and colorful in the sun, far away from drab, gray, cold Poland. While in Rome I did the first live shot of my life. I had been with CNN since April, and this was now the end of December, and I was finally doing what most other television correspondents did all the time, appear live on camera 34 Overseas without the safety net of tape and the possibility of doing it over.

We hired a taxi outside the hotel entrance and I asked Ela to tell the driver to take us around the city center, to see what we could see. It was a bright, sunny Sunday morning, cold and crisp. Jim slumped down in the back seat, cradling his television camera in his lap as low as possible so as not to attract attention, and occasionally raised it and aimed it through the window. At first the streets seemed normal. Pedestrians were bundled up in overcoats and fur hats, trudging down the streets, going to church or wherever.

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