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1.
《Journalism Practice》2013,7(5):572-587
How do online journalists define themselves? Journalistic self-perception plays a big part in understanding developments in the practice of online journalism in newsrooms. This article presents an analysis of the self-perceptions of online journalists using the theoretical framework of Pierre Bourdieu and data from empirical longitudinal observations based on ethnographic fieldwork in three Danish newsrooms. The analytical concepts “journalistic doxa”, “news habitus” and “editorial capital” are applied in an analysis both of ethnographic observations of journalistic practice, and a series of interviews with 35 journalists and editors. This analysis shows that online journalists position themselves in opposition to the “old” forms of journalism, which include the use of such well-known journalistic resources as specialist knowledge, technical skills, and research and writing as professional tools. However, at the same time they accept the “old” as “better” journalism, which indicates that online journalism is deeply embedded in a dominated position in the overall field of journalism. A scheme of four different analytical positions among online journalists is presented within a constructed “field of online news production”. 相似文献
2.
The aim of this paper is to grasp the influence of the newsroom on frame-building processes. First, journalists’ own understanding of “frames” and “framing” is discussed. Second, from an academic interpretation of these concepts, journalists’ framing practices are studied. To this end an ethnographic study was conducted at two newsrooms, one in Belgium and one in the Netherlands. The findings reveal that while the noun “frame” is sporadically used as a tool, the verb “framing” is considered as something from which a journalist should refrain. This is explained by the associations journalists make with strategic framing from sources as well as by the newspapers’ explicit attempt to no longer view the world from a single ideological frame. It is argued that the studied newsrooms have replaced ideology by, respectively, a counterframing strategy that strives to disprove existing frames (deframing) and a narrative approach that, one the one hand, sharpens existing frames but, on the other hand, offer more opportunities to create alternative frames (reframing) for events. 相似文献
3.
Stephanie Grubenmann 《Journalism Practice》2017,11(4):458-476
Confronted by increased internal and external complexity, traditional forms of newswork have reached their limits. Journalistic start-ups, such as Quartz and NZZ.at, form emerging editorial teams around “obsessions” or “phenomena” to gain cross-beat perspectives of complex issues such as climate change, the financial crisis or the refugee crisis. Legacy media experimenting with cross-beat newswork see themselves confronted by challenges arising predominantly from beat structures. Consequently, this paper focuses on an example of cross-beat teamwork at a major Swiss daily newspaper, investigating the journalists’ experiences of working in a particular project. Insights from 13 interviews indicate that a matrix organisation is one way to organise cross-beat topic-focused newswork in larger newsrooms. A matrix organisation combines traditional functional hierarchy (i.e. the beat structure) with a project dimension. Based on insights from organisational studies, I compare the known advantages and disadvantages of a matrix organisation with journalists’ experiences and derive implications for the introduction and design of a matrix organisation in newsrooms. 相似文献
4.
Mohamed Morsy Hassan 《Journalism Practice》2019,13(4):476-492
Through ethnographic observation and content analysis, this study aims to classify the Al-Jazeera Mubasher (AJM) newsroom according to the Schantin model of newsrooms, describe the network’s convergence level based on the Dailey, Demo, and Spillman Dynamic Scale Model, and present a unique model elucidating how, specifically, convergence works at AJM. Based on the Schantin model of newsrooms, AJM can be classified as a second-generation newsroom, a “cross-media platforms newsroom.” Convergence among the different platforms of AJM is considerable, but still below full convergence level. Accordingly, the AJM newsroom can be classified into the fourth level of the Dailey et al. Dynamic Scale Model — “content sharing.” The unique AJM-specific model presented near the end of this paper depicts the ways in which different AJM platforms function and interact inside the newsroom, explains the degree of convergence between platforms, and classifies the newsroom in terms of its convergence level. 相似文献
5.
In times of turbulence in the media industry, media organizations are looking for new business models. Digitalization has led traditional news media organizations to testing new forms of advertisement, such as sponsored content and native advertising, whereas others, such as lifestyle magazines, have a longer history in collaborating with brands. Editors are key players in these developments, since they are journalist–managers and decision makers within those daily practices that shape policies and influence new product innovation and development. In this study, we examine from the editors’ point of view, how they see the process of adopting novel forms of advertisement and what ethical challenges are in the way. Building on interview data of lifestyle magazine editors and news editors in Finland (N=18), we present a study that identifies four editorial dilemmas arising from the intersection of brand collaboration and journalistic work in lifestyle magazines and provide a timely first look into an emerging new category of “hybrid editors” in newsrooms. Our results suggests that, in overall, editors’ attitudes toward new forms of brand collaboration are positive. 相似文献
6.
ABSTRACTScholarly and pragmatic definitions of the term “engagement” vary drastically. This article attempts to capture the nuances of the term by exploring journalists’ roles on social media where “engagement” is supposed to be particularly prevalent. Using in-depth interviews, we gauge the attitudes of traditional political journalists as well as those who think of themselves as “engagement specialists” about their responsibilities in interactive spaces. In addition, we analyze what kinds of engagement are happening in these spaces, and how citizens’ expectations are being articulated, in terms of journalist-audience relationship—an organic resultant of engagement. We found that journalists are taking on new kinds of roles in social spaces—often in the name of “engagement”—but that work is not always particularly interactive with citizens; rather, content is engaged with. In contrast, citizens look to journalists to play a number of roles that range from civic guide to therapist. Thus, relationship building happens sporadically. Furthermore, engagement level is dependent on the platform and its affordances. This research offers a continuum of social media engagement conceived as relationship building that can reconcile the disparities in how we define engagement, and suggests newsrooms appreciate the nuances via a series of recommendations. 相似文献
7.
Astrid Vandendaele 《Journalism Practice》2018,12(3):268-289
In this paper, I focus on one particular player in the newspaper production process, i.e. the sub-editor. I analysed the sub-editing process through participant observation in newsrooms in the United Kingdom, Belgium and the Netherlands. Looking at both the sub-editors at work (think-aloud protocol) as well as the articles in various stages of production, and informed by (retrospective) interviews, I have compiled a list of six of the sub-editor’s “production values”. These values guide sub-editors whenever they intervene, and help them to transform a news story into an appealing, correct and credible newspaper article. I took the lead from Östgaard’s “factors influencing the flow of news”, but also from Galtung and Ruge’s “news values” which help reporters to determine which “events” are transitioned into “news”. In doing so, I go beyond the limitations of previous research, in which the types of interventions carried out in the sub-editing stage of newswriting were categorised. By identifying the guidelines driving the alterations made by the sub-editor, I aim to move one step closer towards uncovering the intricacies of the sub-editing process. Moreover, I demonstrate how “the rewrite men” add journalistic value to their newspapers, as perhaps their brand’s strongest ambassadors. 相似文献
8.
Claire Sisco King 《传播与批判/文化研究》2013,10(4):366-385
Offering a critical interrogation of white masculinity within David Fincher's Fight Club (1999), this essay uncovers a key strategy through which hegemonic systems persist, positing the abject body as a trope for understanding the life of hegemonic ideological formations. Adopting the “interspace” of abjection allows hegemonic masculinity to become everything and nothing at the same time and is a “dangerous” strategy that must be denied at all costs. Insofar as hegemony requires its abjection to remain invisible, this essay names hegemonic masculinity “abject” in order to offer critical prophylaxis against white masculinity's attempts to reproduce its cultural privilege. 相似文献
9.
Findings from this study indicate that news reporters are at times uncomfortable with live reporting, believing that news operations often allow technology to drive journalism. The data indicate that senior reporters and news directors adopt different perspectives of live newsgathering, and that the disparity between the two groups widens in larger markets. The majority of both groups agree that “live for the sake of live” takes place with disturbing frequency in newsrooms across the nation. 相似文献
10.
11.
Jane C. Ju 《Curator: The Museum Journal》2014,57(1):61-80
To understand the major shift in Americans' attitudes about Chinese art between the nineteenth and twentieth centuries, it is essential to know not only what the American collectors thought, but also the social history of these collectors and their agents. Since the advent of the field of material culture studies, scholars have begun to look at museum objects, whether as art or not, from the perspective of different lives—that of their makers and users. It seems that the lack of “great” Chinese paintings in American museums before the twentieth century may be due to the fact that the nineteenth century American collectors and their Chinese agents differed from their twentieth century counterparts in what they regarded as “great,” what they thought was “Chinese,” and what they defined as “paintings.” 相似文献
12.
Celia Emmelhainz Darya Bukhtoyarova 《Slavic & East European Information Resources》2013,14(1-2):16-35
ABSTRACTThis paper explores the attitudes of librarians in post-Soviet Kazakhstan regarding their roles at the new National Academic Library of the Republic of Kazakhstan (NAL). Using ethnographic observation, interviews, and surveys of library staff (n = 24), we find that Kazakhstani librarians either sensed a “calling” to librarianship or “fell into” library careers given life circumstances, and value their library for its contribution to cultural preservation and digital access on a national scale. This pilot project presents NAL to an international community, sharing the voices of Russian- and Kazakh-speaking librarians to highlight the role of libraries in the development of the post-Soviet nation. 相似文献
13.
Tasha R. Rennels 《传播与批判/文化研究》2013,10(3):271-288
Depictions of white working-class people are steadily on the rise in reality television. To understand this phenomenon, and the ways in which it articulates white working-class people in the United States today, I analyze Here Comes Honey Boo Boo, a popular reality series on TLC featuring a self-described “redneck” family. I argue that this series highlights the family's inability—because of their working-class status—to conform to “ideal whiteness,” a whiteness that displays dominant cultural standards bolstered by neoliberalism, such as wealth, rationality, personal responsibility, and self-control. The family members consequently become exemplars of “inappropriate whiteness,” a marginal identity presented as humorous and, through the use of surveillance and spectacle, authentic. 相似文献
14.
ABSTRACTThe #MeToo movement, which engulfed much of India's news and entertainment industry in October 2018, was projected by many as a watershed moment for Indian journalism. Driven largely through social media activism, it created significant public discourse and outcry, leading to the “outing” and resignation of many journalists. This paper explores the perception of #MeTooIndia in regional and national newsrooms. Drawing on Manuel Castells's ideas of networked social movement, we consider the origins of #MeTooIndia, including its mediation on private and social networks. We then draw on 257 semi-structured interviews with journalists working in 14 languages across India to explore the “cause” of the campaign—the prevalence of sexual harassment and sexual violence in workspaces—before turning our attention to the impact, or potential for impact, that journalists saw in it. We find most journalists felt the movement was “good”, but did not think it influenced their environment or newswork in any meaningful manner. Regional journalists expressed more pessimism about the #MeTooIndia, men more so than women. 相似文献
15.
以传统文化为核心、以“自然”“自治”“自适”为基本特征的乡村传统文化治理体系曾经在传承与发展乡村文化、维护乡村社会秩序方面发挥积极作用。在现代化进程中,乡村传统文化治理体系的社会基础、客观条件、价值取向发生了根本性改变,亟待完成现代性构建。文章结合“安康新民风建设引领乡村公共文化服务创新发展”制度设计,从现代乡村文化场域构建、乡村文化“内生性重构”和乡村文化价值体系重塑3个维度探讨乡村传统文化治理体系的现代性构建问题,认为要在充分尊重乡村文化底色和“自然”“自治”“自适”传统的基础上,融入面向未来、持续发展的时代意识,推动乡村文化治理体系和治理能力现代化。 相似文献
16.
《Journalism Practice》2013,7(9):1091-1105
ABSTRACTThe role of communication technologies in Kenyan newsrooms particularly from print media perspective has been investigated. However, how these technologies aid television journalism practice in Kenyan context is understudied. Using the government ban of selected television stations in Kenya during and after the symbolic “swearing-in” of opposition presidential candidate in the 2017 general election, this study investigated the influence of communication technologies by the affected television stations to circumvent government crackdown. Interview was used as the primary method for data collection. The findings of the study revealed that throughout the switch off period the newsrooms remained operational but forced to develop alternative strategies fundamentally buoyed by new media technologies to disseminate contents. Though the strategies produced unintended and unexpected effects as the findings indicated. The main challenge with technology, was news verification, since the stations were using guerrilla tactics to source news which was not easily forthcoming. In addition, there was economic implication, some advertisers demanded for a refund and potential advertisers refused to patronise the stations which according to one of the editors was hinged on fear of being targeted by government. 相似文献
17.
《Journalism Practice》2013,7(2):159-174
This study examines 10 recent high-profile cases of journalistic deceptions at major American news organizations, and analyzes deceptive news and authentic news in a comparative perspective. Applying disaster incubation theory and normal accident theory to newsrooms, it focuses on how newsroom organizational culture contributes to journalistic deceptions. Results suggest that prior to the final revelation of a reporter's deception, an incubation period occurs during which a “first flag”—an initial warning signal often related to the reporter's earliest work that gives rise to suspicion of authenticity—is overlooked. The study also identifies patterns in deceptive news that distinguish it from authentic news. Deceptive news stories are more likely than authentic news stories to be filed from a remote location, to be on a story topic conducive to source secrecy, to be on the front page (or magazine cover), to contain more sources, more “diverse” sources and more hard-to-trace sources. It is suggested that editors might use these recognizable patterns to help prevent journalistic deceptions. 相似文献
18.
Lik Sam Chan 《Critical Studies in Media Communication》2016,33(2):139-153
The intricate connection between nation branding efforts and the emotions they evoke has been inadequately addressed in existing branding and international relations literature. I propose a heuristic account that theorizes this relationship. By tracing the branding efforts made by China and the de-branding efforts made by Shen Yun Performing Arts (a troupe established by Falun Gong practitioners), I argue that these “authentic” Chinese cultural presentations elicit certain emotions. The emotional works are different for Chinese domestic audiences and for international audiences. I propose a duplex model to account for the emotional processes in these two groups of audiences. Four operating emotions—pride, guilt, admiration, and anger—solidify into various political attitudes toward China. Finally, I discuss the contributions of this duplex model and its further complications. 相似文献
19.
Kristina Riegert 《Journalism Practice》2015,9(6):773-790
This article explores how nine Swedish cultural editors and managers in mainstream media institutions define cultural journalism and its political dimensions during times of increased digitization and media convergence. Swedish cultural journalism is aesthetic and political critique applied to subject areas (music, literature, etc.) and contemporary societal and ethical issues. Drawing on Zelizer we ask whether there is a common interpretive community of cultural journalists in different media regarding: (1) how they define their scope, (2) how they understand “the political” in cultural journalism and its implications for democracy, and (3) how they view media convergence and digitalization. We find that although editors/managers from different media share a basic understanding of cultural journalism as an alternative perspective to news, “the political” in cultural journalism is approached differently in the press and the public service broadcast media. Furthermore, due in part to structural conditions, they also see the effects of digitization differently, forming sub-communities on two counts. This study thus contributes new knowledge to a field previously focused almost exclusively on newspapers. 相似文献
20.
Andrew J. Pekarik 《Curator: The Museum Journal》2010,53(1):105-115
The ways that museums measure the success of their exhibitions reveal their attitudes and values. Are they striving to control visitors so that people will experience what the museum wants? Or are they working to support visitors, who seek to find their own path? The type of approach known as “outcome‐based evaluation” weighs in on the side of control. These outcomes are sometimes codified and limited to some half‐dozen or so “learning objectives” or “impact categories.” In essence, those who follow this approach are committed to creating exhibitions that will tell visitors what they must experience. Yet people come to museums to construct something new and personally meaningful (and perhaps unexpected or unpredictable) for themselves. They come for their own reasons, see the world through their own frameworks, and may resist (and even resent) attempts to shape their experience. How can museums design and evaluate exhibitions that seek to support visitors rather than control them? How can museum professionals cultivate “not knowing” as a motivation for improving what they do? 相似文献