ELECTRONIC EDITIONS VS. WEB SITE VERSIONS

Jack Shafer's piece, "Honey, They Shrunk the Newspaper," is generally right about a lot of things wrong with the electronic editions (vs. the standard Web site versions) of The Washington Post, the Los Angeles Times and The New York Times -- and what's right about them. (Here in miniature is what an electronic edition looks like.) He's exactly right when he says:

E-editions preserve the information-rich typography of print by displaying replicas of the newsprint page. An e-edition reader has a leg up on the reader of the HTML version of the paper because the original typefaces and placement retained in PDF give the e-edition reader clues about the intended rank and "play" of a news story (in the editors' opinion). Web sites suffer on this score because most stories are presented in long lists of plain text.

But the standard, broadband Web site versions we've become accustomed to also have their advantages. For instance, Rwanda: 10 years of pain, from Newsday, is a broadband Web report not to be missed. You can't find it in Newsday's print edition, and you wouldn't find it in an electronic edition (even if Newsday had one).

An easy prediction: The day can't be far off when Web-based designers will meld electronic editions and broadband Web site versions in user-friendly packages to give us the best  and worst of both worlds.

May 7, 2004 8:04 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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This page contains a single entry by CriticalMASS published on May 7, 2004 8:04 AM.

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