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The Guardian

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Fake news is 'very real' word of the year for 2017

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Donald Trump's apocryphal invention, which dates back to the noughties, takes title in dictionary's annual reckoning of the most-used new expressions

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WOTY

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Collins Dictionary announce their 2017 Word of the Year

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Experts claim the Atlantic Ocean is 75% too wet. Pole dancing reclassified as an Olympic sport. The cast of Love Island go on to have long-lasting careers. Non-Emmy winning reality TV star becomes leader of the free world.

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This Sunday, The New York Times will debut its first-ever ad to run on the Academy Awards. The simple, black-and-white typographic spot lays out, line by line, a litany of conflicting statements, anchored by the three words, "the truth is" -- "The truth is alternative facts are lies. The truth is the media is dishonest. ...The truth is a woman should dress like a woman. The truth is women's rights are human rights" and so on.

All the while, voiceovers of various people proclaiming their own notions of truth play out in the background. Images and sounds begin to spill over each other at a rapid pace, creating a cacophonous pile-on of information -- until the sound cuts out and the screen goes blank.

Words, now in bold, reappear accompanied by simple piano notes: "The truth is hard/the truth is hard to know/the truth is more important than ever." The ad then closes on the logo of The New York Times.

The spot is part of the publication's first-ever brand campaign in a decade, created out of Droga5 New York. The Oscars version, running nationally, will sub in a pair of lines tailored to Hollywood viewers: "The truth is celebrities should keep their mouths shut. The truth is everyone has the right to speak their mind."

"Picking a program that was high-profile and that would get people talking made sense for us," said New York Times Senior VP-Head of Brand David Rubin. "If one of our objectives was to insert ourselves in the debate that's going on that, frankly, we've been a part of, a high-profile media buy made sense."

And why a new brand campaign, now? "There's a national dialogue going on now about facts and truth and how does one know what the truth is," he said. "We saw an opportunity to be part of that dialogue. We also found in our research that people don't always understand what it takes to do quality original reporting, but when they do, when that becomes part of the dialogue -- about how one finds the truth and about the role journalists can play, they are more interested in supporting it."

Mr. Rubin and his team began working with Droga5 on the campaign about a month and a half ago. It's part of an ongoing effort to align the publication's marketing more closely with its 165-year-old mission to create and deliver high-quality news and information.

"Given the climate we're in, we were looking for ways in which we could reinforce to the world that The New York Times is the pre-eminent place for independent, deeply reported journalism," explained Droga5 Executive Creative Director Tim Gordon. "We started realizing that the actual phrase 'The Truth Is' is batted around a lot way more than you expect. You start noticing it when you listen to the talk shows, late-night, interviews. It's used a lot more to masquerade opinions on one side, so the idea really came from a place of empathy -- knowing that the truth is hard -- to know, and to find. It doesn't matter what side of the spectrum you're on politically."

The simplicity of the ad itself -- using typography and sound to illustrate The New York Times as a "safe harbor" in a noisy storm of information -- was by design. "It felt like a very nice distinction from the barrage of imagery we see daily, whether it's on our feeds, TV or phones," Mr. Gordon said. It felt like a real opportunity to lean into the beauty and simplicity that is the Times. While the ad was produced in-house out of Droga5, the sound design and audio -- key to the impact of the spot -- was created out of Sonic Union.

The non-Oscars version of the spot will continue to run nationally on broadcast for a week after the awards, with digital ad buy continuing for a month. Other assets will include digital and social ads, print ads running in the Times from Friday through Monday, as well as out of home in New York, Los Angeles, Washington, D.C. and San Francisco.

Mr. Rubin did not disclose how much of the Times' marketing budget for the Oscars ad entails. While the Times is "an efficient advertiser," the ad does represent a "huge investment," he said. As reported in Ad Age, 30-second ad slots during ABC's broadcast cost anywhere between $2 to $2.5 million.

Mr. Rubin said the campaign is part of the Times' push to become consumer subscription-first business, a key mandate highlighted in the company's most recent Innovation Report. As of Q4 2016, the Times passed 3 million paid subscribers to print and digital. It also added 276,000 new digital subscriptions to see its best quarter since the pay model debuted in 2011. This has happened as the publication has seen a decline in advertising revenues. For fourth quarter 2016, the company's total revenue decreased 1.1% to $439.7 million, from $444.7 million in the same period in 2015. While ad revenues dropped 9.7% in that period, circulation revenue increased 5%.

The Times' campaign bows as news outlets have become subject of the news themselves, facing intense scrutiny under the Trump administration, with the president calling out major news organizations:

The FAKE NEWS media (failing @nytimes, @NBCNews, @ABC, @CBS, @CNN) is not my enemy, it is the enemy of the American People!
- Donald J. Trump (@realDonaldTrump) February 17, 2017

The Oscars ad will also appear at a time when celebrities are sure to use the stage as a political platform. The Golden Globes, for example, became the backdrop for Meryl Streep's high-profile Trump take-down, while Grammys performers and presenters, including Busta Rhymes, Katy Perry, Jennifer Lopez and Laverne Cox, made statements on subjects ranging from the current POTUS and administration to the Dakota Access pipeline and transgender rights.

The Times spot doesn't take a pointed political stance. At first glance, it might be easy for viewers to "see" only the statements they personally adhere to even though it delivers polarized views -- an effect Mr. Rubin says is a telling metaphor for the confusion that happens to viewers as they process real-world information.

"The New York Times and journalism play a role in our reader's search for the truth, but it's the reader's search," he said. "We don't consider ourselves the sole arbiter of anything, so what we liked about this idea is that it's about the reader's quest to understand. But it leaves the understanding in their court, with the hard work of our journalists being one important part of that journey."

The campaign bows on the heels of another thought-provoking brand effort from The Atlantic, which tapped actor Michael K. Williams to illustrate the tagline "Question Your Answers" for its 160th anniversary.
Correction: An earlier version of this story incorrectly reported an increase of 276 million digital subscribers. The Times has added 276,000 digital subscribers. Ad Age regrets the error.

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'The Truth Is Hard,' Says The New York Times' First-Ever Oscars Ad

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This Sunday, The New York Times will debut its first-ever ad to run on the Academy Awards. The simple, black-and-white typographic spot lays out, line by line, a litany of conflicting statements, anchored by the three words, "the truth is" -- "The truth is alternative facts are lies.

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How to Spot Fake News (and Teach Kids to Be Media-Savvy)

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Clickbait, hyper-partisan opinion, and completely false information are running wild across the internet. Advice from Common Sense Media editors.

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Biography- Pairwork, questions

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Ishiguro's novels are preoccupied by memories, their potential to digress and distort, to forget and to silence, and, above all, to haunt.

When he was awarded the Nobel Prize for Literature in 2017, the Swedish Academy praised Ishiguro's work for unearthing 'the abyss beneath our illusory sense of connection with the world.' If Ishiguro's novels tend to defy genre expectations, with each new work veering from the conventions of the last, what haunts all of them is the abyss of memory and its potential to shape and distort, to forget and to silence. His protagonists seek to overcome the chasms and absences left by loved ones and lost family members by making sense of the past through acts of remembrance.

His first two novels, A Pale View of Hills (1982) and An Artist of the Floating World (1986), take the reader on compelling journeys into the minds and memories of their Japanese protagonists. Private recollections share complex relationships with wider historical events shaking the world. A Pale View of Hills and An Artist of the Floating World are set respectively in the aftermath of the bombing of Nagasaki and Hiroshima. These traumatic events structure and scar the two narratives, which are skilfully composed around strategic silences and repressions. They are psychological portraits of how characters cope with traumatic events.

Ishiguro's characters are pathologically unreliable. They tend to deceive, rather than reveal themselves, through storytelling. His novels are not attempts to render the past convincingly, but rather to pursue how individuals interpret and (re)construct their lives through history. For example, A Pale View of Hills is narrated by Etsuko who is living in England. Her memories of the past and of her dead daughter Keiko (who committed suicide in Manchester) have been stirred by the arrival in England of her second child, Niki. While Etsuko's tale seems keener to discuss her old friendship with Sachiko and her daughter Mariko in Japan, the novel also implies that Etsuko, Sachiko, Mariko and Keiko are the same person. To what extent Etsuko is concealing or revealing the past through her recollections is ultimately left to the reader to decide.

A similar story emerges in An Artist of the Floating World. Ono is also haunted by the past. His wife is dead following a bombing raid that destroyed large sections of their house. His son dies fighting the Chinese. Ono does not dwell explicitly on these personal losses, and like Etsuko he seems oddly detached from them. However, as he strolls through the shattered remains of his home he also circles around this past, which appears to the reader obliquely, through glimpses and side-glances.

As the powerful physical and psychological detail of An Artist of the Floating World suggests, Ishiguro's work is often preoccupied with interiors: not simply with journeys into the mind and memory, but also with the domestic indoors. It is upon private rather than public terrain that Ishiguro's work feels most at home, from the powerful image of Ono's broken house in Japan, to the faded grandeur of the quintessentially 'English' Darlington Hall in The Remains of the Day.

At the same time the protagonists of these texts are all radioactive with the fallout of the momentous events that are both central and peripheral to their narratives. In The Remains of the Day we are offered the narrative of Stevens, a butler. The privileged, isolated world of Darlington Hall reveals a society seemingly detached from national and international affairs. Yet it gradually becomes clear that the late Lord Darlington was himself a Nazi sympathiser during the war, a fact that Stevens struggles throughout the text to reconcile with his own view of his employer as a great man. It is 1956 and Darlington Hall has a new master, an American businessman who encourages Stevens to take some time off. As he travels by motor car to visit former housekeeper, Miss Kenton, Stevens' memories unfold in the form of a travelogue. Yet, as with Etsuko and Ono's narratives, Stevens' flashbacks help us to make sense of his past and simultaneously expose that past as provisional, partial and unreliable. As the story progresses, we learn that Stevens helped his master entertain Fascist leaders like Mosley and that his visit to Miss Kenton (a former lover) has an ulterior motive. Stevens is a deluded character, and as such readers sympathise with, but cannot quite place faith in him. The stunning precision and clarity of Ishiguro's prose in The Remains of the Day belies the fact that it is also a fiction about imprecision and the distortions of language.

As the novelist Salman Rushdie has noted:

'Now that the popularity of another television series, Downton Abbey, has introduced a new generation to the bizarreries of the English class system, Ishiguro's powerful, understated entry into that lost time to make, as he says, a portrait of a "wasted life" provides a salutary, disenchanted counterpoint to the less sceptical methods of Julian Fellowes's TV drama. The Remains of the Day, in its quiet, almost stealthy way, demolishes the value system of the whole upstairs-downstairs world.'

After the critical acclaim of the Booker Prize winning The Remains of the Day, Ishiguro's next novel represents a change of tack. If the characters of the first three novels could be said to be 'looking back and ordering ... experience' then Ishiguro has noted that Ryder of The Unconsoled (1995) is 'someone in the midst of chaos'. The narrative unfolds within an unspecified European city and there is a dislocated, dreamlike quality to Ryder's narrative. If the protagonists of Ishiguro's earlier novels supplied memory with an imaginary coherence, a unifying order, then this novel abandons the idea of a stable identity as the text shifts, unexpectedly and incoherently, between different accounts of Ryder's existence. The epistemological questions raised by the first three novels become ontological questions in The Unconsoled; a deft, disorientating text that reveals the novelist's commitment to narrative innovation and experiment.

Silencing those critics who found the ambition and abstraction of The Unconsoled difficult to swallow, Ishiguro's next novel represents a return to realism and the prevailing theme of memory. When We Were Orphans (2000) is set in the 1930s and follows the story of London-based detective, Christopher Banks. Returning to Shanghai in an attempt to solve the mystery of his missing parents who disappeared when he was ten, the novel takes us on a journey into personal memory and the past through its imaginative deployment of the detective genre. Ishiguro parodies the speech patterns of classic detective fiction only to suggest that the act of detection is more elusive than it first appears.

Never Let Me Go (2005) takes its name from a fictional pop song to which the protagonist, Kathy H., dances during her days at the mysterious boarding school of Hailsham. The youthful, innocent Kathy imagines the lyric as a mother calling out to her child, and she is often to be found swaying to the words while embracing a pillow. What detaches the words and actions from cliché is the woman who looks on at Kathy, the mysterious figure known simply as Madame, who is reduced to tears by the scene. Much later in the novel we discover why. Hailsham is an experimental school for clones reared to provide organs for human transplantation. Madame explains to Kathy later in life that the reason she cried is because the dancing girl appeared to her to be asking an older, more humane world not to let her go. Shortlisted for the 2005 Man Booker Prize for Fiction and other prestigious literary awards, the novel has been translated into more than a dozen languages and was adapted into an award-winning film starring Keira Knightley in 2010.

Ishiguro's more recent work, Nocturnes: Five Stories of Music and Nightfall (2009), is a poetic short story cycle, and an unexpected break with the novel form. But arguably Nocturnes is more a return to form than a departure: the author's earliest published work consisted of short stories ('A Strange and Sometimes Sadness', 'Waiting for J' 'Getting Poisoned' (1981) and 'A Family Supper' (1982)), many of which are collected in Introduction 7: Stories by New Writers (1981). The stories of Nocturnes move from tourist Venice, to the Malvern Hills, from London to Hollywood. Connecting all of them, as the title suggests, is music and dusk. The stories are populated by cellists, guitarists, saxophonists, and crooners in a carefully orchestrated narrative that is itself a sort of quintet.

After the verbal economy of Nocturnes, The Buried Giant (2015) represents Ishiguro's biggest book to date, and his most extended meditation on the vicissitudes of memory. The book combines something of the epic vision of J.R.R. Tolkien with the restless quest-filled world of Arthurian legend, but the prose and tone of the novel also manages to feel uniquely original.

The Buried Giant follows the story of Axl and Beatrice as they set forth from their hobbit-like burrow on a journey across the treacherous, ogre strewn landscapes of sixth century Britain in search of their son. It is what Ishiguro has called 'the eve of England', when a fragile truce exists between the newly arrived Saxon and the Britons, thanks largely to a collective amnesia that has settled over the islands inhabitants, like the mist that rolls perpetually over the countryside.

The emphasis on personal memories in Ishiguro's earlier books seems to expand in The Buried Giant to become part of a state-of-the-nation dilemma hinting at an opaque allegory for our own dark times. Yet the focus and power of this story is the love shared by Axl and Beatrice. The tragedy behind the elderly couple's story is that they can only barely remember the existence of their own son. Axl consoles his wife at one point: 'Our memories aren't gone for ever, just mislaid somewhere on account of this wretched mist. We'll find them again, one by one if we have to. Isn't that why we're on this journey?'

A little later their condition is described as a 'strange affliction'. Beatrice, meanwhile refers to forgetting as like 'a sickness [that has] come over us all'. But remembering, the unearthing of buried pasts, does not necessarily emerge as a remedy in The Buried Giant. Axl and Beatrice's unconditional love for one another is partly sustained by amnesia, as is the precarious peace that exists in Britain. With his seventh novel, Ishiguro offers no solutions to the protracted predicament of memory explored in his earlier work. Yet in the still clarity of this novel's dazzling close, we encounter something at once moving and unforgettable. As the 2017 Nobel Prize for Literature committee noted, Ishiguro 'is someone who is very interested in understanding the past, but he is not a Proustian writer, he is not out to redeem the past, he is exploring what you have to forget in order to survive in the first place as an individual or as a society'.

James D. Procter (2017)

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Ishiguro's novels are preoccupied by memories, their potential to digress and distort, to forget and to silence, and, above all, to haunt. When he was awarded the Nobel Prize for Literature in 2017, the Swedish Academy praised Ishiguro's work for unearthing 'the abyss beneath our illusory sense of connection with the world.'

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Reactions to the prize

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Nobel prize in literature 2017: Kazuo Ishiguro wins - as it happened

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This year's prize has been awarded to the British author of The Remains of the Day and Never Let Me Go

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Editor's Pick

An apple is an apple. That's the crux of the first spot in CNN's new campaign, "Facts First," which features, in minimalist fashion, the common fruit, while a voiceover states the facts, plain and simple:
"This is an apple. Some people might try to tell you that it's a banana. They might scream, 'Banana, banana, banana,' over and over and over again. They might put banana in all caps. You might even start to believe it's a banana, but it's not. This is an apple."
The spot is the debut work for the broadcaster out of Figliulo & Partners. It serves as a powerful metaphor for discerning fake news in a media world increasingly cluttered with varied, clamoring voices and opinions -- one coming from a news organization that's been a consistent target of President Trump's "fake news" jabs on Twitter.

"The brief was about the role of journalism--now, more than ever before, a free press is important," explains Figliulo & Partners Chief Creative Officer Scott Vitrone. "The line between opinion and fact is becoming increasingly blurred. So much so that we almost have to relearn what a fact is if we're going to have real debate. That's why we used the simple imagery of an apple--it's like the first day of school."

The campaign will roll out on broadcast, print, digital and social. Spencer LaVallee directed, out of F&P Studios.

Previously, Trump-era headlines inspired other news outlets to reassert the importance of solid journalism in new brand campaigns. The New York Times has illustrated how "The Truth Is Hard" in its first-ever Oscars ad, created out of Droga5, while The Washington Post unveiled a new slogan, "Democracy Dies in Darkness," amongst other efforts.

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Editor's Pick An apple is an apple. That's the crux of the first spot in CNN's new campaign, "Facts First," which features, in minimalist fashion, the common fruit, while a voiceover states the facts, plain and simple: "This is an apple. Some people might try to tell you that it's a banana.

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discusses 2 of his previous novels

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Kazuo Ishiguro on The Remains of the Day and Never Let Me Go

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KI wins the Nobel Literature Prize

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The British author Kazuo Ishiguro said he was both honoured and "taken completely by surprise" after he was named this year's winner of the 2017 Nobel prize in literature, even initially wondering if the announcement was a case of "fake news".

Ishiguro, author of novels including The Remains of the Day and Never Let Me Go, was praised by the Swedish Academy for novels which "uncovered the abyss beneath our illusory sense of connection with the world" and were driven by a "great emotional force".

Despite being among those tipped for the prize, whose previous winners include Seamus Heaney, Toni Morrison, Doris Lessing and Pablo Neruda, Ishiguro told the Guardian he had been completely unprepared for the announcement and had even doubted at first if it was true.

"You'd think someone would tell me first but none of us had heard anything," said Ishiguro, who had been sitting at his kitchen table at home in Golders Green in London about to have brunch, when he got the call from his agent.

"It was completely not something I expected, otherwise I would have washed my hair this morning," he said with a laugh. "It was absolute chaos. My agent phoned to say it sounded like they had just announced me as the Nobel winner, but there's so much fake news about these days it's hard to know who or what to believe so I didn't really believe it until journalists started calling and lining up outside my door."

Ishiguro, who was born in Nagasaki in Japan but moved to the UK when he was five, said he was "tremendously proud" to receive the award and emphasised how much he hoped it would be a force for good at a time of global instability.

"This is a very weird time in the world, we've sort of lost faith in our political system, we've lost faith in our leaders, we're not quite sure of our values, and I just hope that my winning the Nobel prize contributes something that engenders good will and peace," he said. " It reminds us of how international the world is, and we all have to contribute things from our different corners of the world."

With names including Margaret Atwood, Ngugi Wa Thiong'o and Haruki Murakami leading the odds at the bookmakers, Ishiguro was a surprise choice and he admitted one of his first thoughts had jumped to fellow living authors he felt were equally deserving of a Nobel.

"Part of me feels like an imposter and part of me feels bad that I've got this before other living writers," said Ishiguro. "Haruki Murakami, Salman Rushdie, Margaret Atwood, Cormac McCarthy, all of them immediately came into my head and I just thought wow, this is a bit of a cheek for me to have been given this before them.

"And because I'm completely delusional, part of me feels like I'm too young to be winning something like this. But then I suddenly realised that I'm 62, so I am average age for this I suppose."

However, any concerns over Ishiguro's win creating friction in the literary world were quickly appeased as authors such as Rushdie were among the first to offer their congratulations. "Many congratulations to my old friend Ish, whose work I've loved and admired ever since I first read A Pale View of Hills," Rushdie said. "And he plays the guitar and writes songs too! Roll over Bob Dylan."

Ishiguro, who is currently "very deep" into writing his latest novel, which he is juggling alongside film, theatre and graphic novel projects, also expressed concern at the distracting burden of celebrity that the Nobel prize might bring and impact on his writing.

He said: "I'm hoping it doesn't mark some kind of end. I've had to battle a lot of my writing life between the demands to be a public celebrity author and finding the time and space to do the real work, so I'm hoping the work itself just continues and is no different to where it was yesterday.

"I just hope I don't get lazy or complacent, I hope my work won't change. And I hope that younger readers aren't put off by the Nobel. I have GCSE people reading my books and I'm very proud to have that younger audience."

Ishiguro studied creative writing at the University of East Anglia, going on to publish his first novel, A Pale View of the Hills, in 1982. He has been a full-time writer ever since. According to the Academy, the themes of "memory, time and self-delusion" weave through his work, particularly in The Remains of the Day, which won Ishiguro the Booker prize in 1989 and was adapted into a film starring Anthony Hopkins as the "duty-obsessed" butler Stevens.

Addressing Ishiguro's Nobel win, the former poet laureate Andrew Motion, said: "Ishiguro's imaginative world has the great virtue and value of being simultaneously highly individual and deeply familiar - a world of puzzlement, isolation, watchfulness, threat and wonder.

"How does he do it?" asked Motion. "Among other means, by resting his stories on founding principles which combine a very fastidious kind of reserve with equally vivid indications of emotional intensity. It's a remarkable and fascinating combination, and wonderful to see it recognised by the Nobel prize-givers."

Will Self, meanwhile, reacted to Ishiguro's win in characteristically lugubrious fashion.

Self said: "He's a good writer, and from what I've witnessed a lovely man, but the singularity of his vision is ill-served by such crushing laurels, while I doubt the award will do little to reestablish the former centrality of the novel to our culture."

The Nobel prize for literature comes with winnings of 9m Swedish krona (£832,000). Permanent secretary of the academy, Sara Danius, spoke to Ishiguro about his win around an hour after the announcement. It was a marked change to previous winners such as Bob Dylan, who took weeks to acknowledge the accolade, and Doris Lessing, who famously responded with a derisive "oh Christ" when the news was broken to her by reporters.

"He was very charming, nice and well-versed, of course. He said he felt very grateful and honoured, and that this is the greatest award you can receive," said Danius.

"He is someone who is very interested in understanding the past, but he is not a Proustian writer, he is not out to redeem the past, he is exploring what you have to forget in order to survive in the first place as an individual or as a society," she said, adding, in the wake of last year's uproar over Dylan's award, that she hoped the choice would "make the world happy".

"That's not for me to judge. We've just chosen what we think is an absolutely brilliant novelist," she said.
Topics

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Kazuo Ishiguro wins the Nobel prize in literature 2017

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The British author Kazuo Ishiguro said he was both honoured and "taken completely by surprise" after he was named this year's winner of the 2017 Nobel prize in literature, even initially wondering if the announcement was a case of "fake news".

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NEVER LET ME GO | Official Trailer | FOX Searchlight

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Kazuo Ishiguro on Fiction, Allegory and Metaphor

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Kazuo Ishiguro on Fiction, Allegory and Metaphor

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Kazuo Ishiguro on Fiction, Allegory, and Metaphor

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Kazuo Ishiguro is the Booker Prize winning author of The Remains of the Day. His latest, The Buried Giant, is published in March 2015. Learn more: http://knopfdoubleday.com/book/85613/the-buried-giant/

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Quotes

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Kazuo Ishiguro Quotes (Author of Never Let Me Go)

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319 quotes from Kazuo Ishiguro: 'There was another life that I might have had, but I am having this one.', 'Memories, even your most precious ones, fade surprisingly quickly. But I don't go along with that. The memories I value most, I don't ever see them fading.', and 'I keep thinking about this river somewhere, with the water moving really fast.

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Director Mark Romanek, actors Carey Mulligan, Andrew Garfield and Keira Knightley, and the novel's author Kazuo Ishuiguro discuss their hauntingly beautiful adaptation of Never Let Me Go. In his highly acclaimed novel Never Let Me Go, Kazuo Ishiguro (The Remains of the Day) created a remarkable story of love, loss and hidden truths.

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Kazuo Ishiguro : A Coggle Diagram about His books are about, First reaction (, and ), His goal (Now and ) and Phone calls ( and )

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the remains of the day. the remains of the day (1989) is the japanese- english author kazuo ishiguro's third published novel. one of the most highly-

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THE REMAINS OF THE DAY. The Remains of the Day (1989) is the Japanese- English author Kazuo Ishiguro's third published novel. One of the most highly- - ppt download

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The Remains of the Day (1989) is the Japanese- English author Kazuo Ishiguro's third published novel. One of the most highly- regarded post-war British novels. As in Ishiguro's two previous novels, the story is told from a first person point of view.

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Plickers activity