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On 1 January 1930 the Communist Party of Great Britain's (CPGB) new daily newspaper, theDaily Worker, was published for the first time. It was heralded by the CPGB as a maturing of the British Communist movement, and an opportunity for the Party to spread its message to a much wider audience than previous weekly newspapers would allow. With leading Party members in control of the paper, theDaily Workerwas very much a Party newspaper; however, the CPGB wanted it to be much more than an internal bulletin. This paper examines the attempts by the CPGB to create a newspaper that spoke both for and with the voice of the working-classes, whilst also spreading the Party's message. It will ultimately conclude that the CPGB's depiction of it as a paper ‘by the working-classes, for the working-classes’ reflected the Party's efforts at locating its own place within the working-class movement. [ABSTRACT FROM PUBLISHER]

Reporting on crime and the courts are among the classic functions of journalism. In the UK, journalists and others must abide by the Contempt of Court Act 1981, the main piece of primary legislation aimed at ensuring coverage of legal matters is fair to the participants. The restrictions are generally tighter in practice than in jurisdictions such as the US, where the media has a much freer hand to engage in pre-trial reporting. This paper argues that media coverage of the arrest of the so-called 'Yorkshire Ripper' serial killer, Peter Sutcliffe, in 1981 while Parliament was considering the question of contempt, has made the UK regime tougher than it might otherwise have been. Excessive reporting was influenced by an unusually celebratory police news conference. This news coverage coloured the contemporary debate around contempt, and any opportunity for a more relaxed approach to contempt in the UK's jurisdictions was lost. [ABSTRACT FROM AUTHOR]

This article considers the representation of tabloid journalists in 1930s British cinema. It argues that during this period, British films showed journalists to be collaborating with state powers to maintain a stable society. They also depicted reporters as not adhering to any recognised ethical framework. As a result, cinematic journalists in 1930s Britain differ markedly from later, better-known fictional reporters, as they do not challenge inequalities or uphold principles of ethics. The 1930s saw the consolidation and expansion of the popular press in Britain, as well as a boom in cinemagoing. The depiction of the relatively novel 'type' of the tabloid reporter in fiction films in this period therefore had the potential to greatly impact the public's view of the journalism profession. The article highlights how this under-researched period in British film history gives important indications of the place of the reporter in the country's popular imagination, in this decade. [ABSTRACT FROM AUTHOR]