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1.
Jan Fredrik Hovden 《Journalism Practice》2015,9(6):791-810
Based on comprehensive surveys in 2005 and 2013 among journalists, professional critics, and artists in Norway, this article analyses the cultural journalists’ position within the fields of journalism and culture. Although increasingly adhering to journalistic ideals and becoming more similar to other journalists through education and social recruitment, cultural journalism is still not the place to gain prestige and honour in the journalistic field. As cultural journalists tend to be recruited more from journalism schools than from higher education in the humanities, they also lack the skills and knowledge to be properly recognized within the cultural field. Cultural journalists seem to occupy a subordinated position in both fields—they are doubly dominated. The analysis also shows increasing differences between cultural journalists and professional critics. Cultural journalists are more anti-elite and populist in their view on culture than critics (and artists), and they are more likely than these groups to be supportive of the idea of culture as a private realm of leisure that should be guided more strongly by economic interests. There are signs of a division of labour where critique and high culture are left to professional critics, while employed cultural journalists with less formal competence adopt an advisory role in the realm of popular culture. With increasing coverage of popular culture and traditional criticism under pressure, these are signs of a less-critical cultural journalism that falls short of the idea of a cultural public sphere as a site for acquiring intellectual and cultural resources to (better) cope with the complexities of modern life. 相似文献
2.
Various studies report that cultural journalism increasingly focuses on service and entertainment instead of serious arts coverage. The press prioritizes popular culture over traditional high arts to a growing extent. However, this shift in journalistic attention does not necessarily signify a straightforward decline in aesthetic standards, as popular cultural forms like film have developed along the lines of high art principles in the past decades. This article charts trends in American, Dutch, French, and German film journalism between 1955 and 2005. It demonstrates that coverage is typified by a serious aesthetic approach from the 1970s onwards. The principles of art are seen to steer journalists’ attention to an important degree: the review remains the predominant journalistic genre, and newspapers devote more attention to films by prestigious directors than strictly commercial moviemakers. As such, film’s prominence in the press does not seem to indicate a decline in serious cultural journalism but rather a revaluation of a popular cultural form. 相似文献
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Maarit Jaakkola 《Journalism Practice》2015,9(6):811-828
Reflecting a change from high to liquid modern culture, journalism is said to be encountering a transformation from high towards liquid modernity. Cultural journalism, however, has been found to be “journalism with a difference”. Due to this distinctive character, the principles of general journalism do not directly apply to cultural journalism. Consequently, the manifestations and consequences of the high and liquid modern ethos appear differently in cultural journalism. Proposing a theoretical framework of the core aspects of journalism—(1) knowledge, (2) audience, (3) power, (4) time, and (5) ethics—this article argues that cultural journalists differ from other journalists in their responses to the recent transformations in the professional values, working practices and the status of journalists. 相似文献
4.
《Journalism Practice》2013,7(2):138-152
In an era of fast and instantaneous journalism and concerns about the deleterious effects of speed, it can be easy to lose sight of the other kinds of journalism being practiced, other temporalities for its production. There has been little scholarly work on slow journalism, so the first aim of this article is, if not to define, then at least to describe some key characteristics of what slow journalism might be. It will look at how the term has been used on blogs, websites, public forums, and in the minimal scholarly literature available. It will also explore some examples by producers who identify with the term to see what slow journalism looks like in practice. The proliferation of independent journalism using Slow as a way of thinking about production suggests that we are witnessing a new alternative emerging in the mediascape. 相似文献
5.
Marc Verboord 《Journalism Practice》2015,9(6):829-852
In the second half of the twentieth century, the volume, content and appearance of arts journalism in Western daily newspapers have changed significantly in accordance with wider transformations in the arts and journalism. Previous studies have focused on (1) which culture receives attention, (2) the way culture gets attention, and (3) economic pressures underlying transformations. In this article we aim to bring these strands together by analyzing how changes in the packaging of arts journalism have evolved in relation to the cultural content which is discussed and the volume of (cultural) advertising that is featured in newspapers. We conduct a content analysis of the coverage given to both “highbrow” and “popular” art forms in French, German, Dutch and US elite newspapers for four sample years: 1955, 1975, 1995 and 2005. The results show that newspapers all seem to converge into a balance between news reporting and reviewing. We find evidence for an increased catering for the needs and interests of audiences in some aspects (e.g. more popular culture) but not in others (e.g. no more human interest). Finally, most newspapers show an increase in cultural advertising, although the European newspapers in our sample contain much less advertising than the American ones. A stronger presence of advertising is positively related to both a lifestyle orientation of newspapers and a focus on popular culture. 相似文献
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以詹姆斯·凯瑞的讨论为源头,兴起于20世纪70年代的新闻史观变革运动推动了美国新闻史研究走出辉格式的、线性的、进步的传统范式。大卫·诺德延续了凯瑞的新闻文化史路径,将其进一步聚焦到以阅读史为代表的新闻机制史的范畴中。他的《新闻的共同体》重新定义了“新闻”与“新闻史”的内涵,从“生产的共同体”和“接收的共同体”两个维度阐发了北美新闻传统中的共同体精神。他的新闻史研究试图将文学批评、历史学、传播学、社会学等融合在一起,建立一种兼顾人文主义和社会科学的新的关于传播的历史。由于他的新闻史观是地方性的,国内研究借鉴时要注意可行性和合理性。 相似文献
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《Journalism Practice》2013,7(4):482-486
Cultural departments in newspapers are reported to be encountering increasing pressures towards the production of news and more “journalistic” expression. However, journalistic values do not fit unproblematically into the dualistic professionalism of cultural journalism. The article elaborates an insight into the practice of arts journalism as an act of framing between the epistemic paradigms of journalistic and aesthetic tradition. The traditions are inspected as Bourdieusian fields, and the boundary-crossing between the fields is clarified by close-reading texts with deviations from the typical framings, accompanied by social tensions and indignation among the actors of the artistic field. By investigating the reconciliation between the two epistemic frames of cultural journalism, the journalistic and the aesthetic paradigm, certain restrictions between the generalist and specialist role-shifts can be found. This distinctive boundary between the fields leads into the question about how the newsworthiness of culture could be defined without losing the sensitivity to the characteristics of arts and culture, operated by their own logic. 相似文献
10.
Heikki Heikkilä 《Journalism Practice》2015,9(1):50-64
The media-saturated nature of everyday life is well acknowledged in current audience research, but the role of journalism for people living in this digitalised environment remains less clear. To provide a better understanding of the role of journalism and news in everyday life, this article states the case for combining two complementary analytical perspectives in cultural audience research that draw on the framework of practice theory. We need to focus on both interpersonal communication practices within social networks and on discursive practices and patterns of how people use the media. Empirically, this article draws on an extensive audience study conducted in Finland, whose findings provide a cause for moderate optimism regarding the sustaining relevance of journalism in people's everyday life in the digital era. Firstly, social networks—both offline and online—constitute a vital structure within which the output of journalism is rendered meaningful by users. Secondly, the discursive practices applied by the participants emphasise the importance of news as a central means of orientation to society and making sense of the political nature of the public world. However, much of this potential remains unknown to journalists because users' activities occur at a distance from journalism and political institutions, which poses a challenge to digital journalism. 相似文献
11.
Anthony Cawley 《Media History》2013,19(2):219-237
As, historically, has been common with newly emergent media, the World Wide Web in the mid-1990s was greeted with a discourse of revolutionary impacts, premised on a technological logic of development. In the case of news, the Web was expected to drive a more democratic, transparent and accountable journalism. This article argues that the application of a strong historical perspective to scholarship on online news is necessary to gauge the depth of any changes from and the strength of continuity with print and broadcast news. It examines the historical development of mass media and of journalism in the context of industrial capitalism to trace the emergence of the ‘news ecology’ that permeates print, broadcast and, now, online media. It examines this through a sample of websites maintained by Irish national and local newspapers, and the country's public service broadcaster, between 1994 and 2010. 相似文献
12.
Dora Santos Silva 《Journalism Practice》2019,13(5):592-601
In January 2013, Peter Bradshaw, a film critic for The Guardian, said that Twitter users had become the favourite “critics” of the film industry. The implicit concern in this article on a subject dear to cultural journalism—“Would be criticism bankrupted when we are all ‘critics’ on the Web?”—became evident in the following years. It is pertinent, then, to explore the media answer not only to this subject but both to sourcing and expertise in general in the culture section. Did they embrace these new news sources (and which) that emerged in the digital environment, such as the reader, blogs or artists tweets? Assuming the first hypothesis, how did they include them in their editorial model, alongside with the “traditional” experts and sources? We conducted a content analysis to the culture section of an international media—The Guardian—between 2014 and 2016 (n?=?992), identifying the role of what we would like to call digitally empowered sources and the presence of new “experts” in cultural criticism. We concluded that these digitally empowered sources play an important role in the overall editorial, business and engagement media's strategy and are deeply engaged with a new digital feature: hypertextuality. New patterns of expertise also reflect an editorial positioning supported in an engagement strategy and in the recognition of the readers’ added value to content. 相似文献
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《Journalism Practice》2013,7(1):13-29
Although online journalism is still dominated by breaking news coverage, new genres are emerging that differentiate it more and more from old media journalism. This article explores the emergence of feature journalism in online newspapers. Through comparative qualitative text analysis of feature journalism in the US online newspaper palmbeachpost.com and the Norwegian online newspaper dagbladet.no, two widely different approaches to the production of feature journalism on the Web are uncovered and a critical perspective on the remediation of journalistic genres in online newspapers is elaborated. The analysis shows that both these approaches display a clash between discourses of traditional feature journalism and discourses of online communication. It further reveals that genre development in online journalism is a complex process marked by contradictions and inconsistencies and that online newsrooms are struggling to find solutions on how to differentiate online journalism from old media journalism. 相似文献
14.
Anne-Sophie Béliard 《Journalism Practice》2015,9(6):907-923
This article analyzes the emergence of TV series criticism, a recent journalistic genre in French magazines. It aims to show how dedicated fans have become professional series journalists starting in the early 1990s. The study demonstrates that this new kind of journalism challenges cultural hierarchies by legitimizing TV series as a cultural genre and distinguishing between different types of series. 相似文献
15.
As fake news has become a growing concern since the 2016 U.S. presidential election, attention to journalism history offers a useful means for rediscovering strategies for both fighting fake news and shoring up journalism’s commitment to the truth. This article argues that truth’s value emerges from the conditions under which journalism is produced, both commercial and cultural. Looking at arguments about fake news published in news reports, columns, letters to editors, and advertisements in major metropolitan papers between 1891 and 1919, we recover the particular ways journalists came to define the problem of fake news, arguing that its emergence as a discursive object offered opportunities for conceiving of and articulating practicable responses across the industry. For contemporary practitioners, scholars, and commentators alike, this means that clearly defining and responding to the problem of fake news in ways that are both critical and contextual offer a means for recovering agency in the face of this crisis. 相似文献
16.
Nete Nørgaard Kristensen 《Journalism Practice》2015,9(6):760-772
This special issue addresses a topic of journalism studies that has previously been somewhat neglected but which has gained increasing scholarly attention since the mid-2000s: the coverage and evaluation of art and culture, or what we term “cultural journalism and cultural critique.” In this introduction, we highlight three issues that serve to frame the study of cultural journalism and cultural critique more generally and the eight articles of this special issue more specifically: (1) the constant challenge of demarcating cultural journalism and cultural critique, including the interrelations of “journalism” and “critique”; (2) the dialectic of globalisation’s cultural homogenisation, on the one hand, and the specificity of local/national cultures, on the other; and (3) the digital media landscape seen in terms of the need to rethink, perhaps even redefine cultural journalism and cultural critique. 相似文献
17.
Mattias Ekman 《Journalism Practice》2015,9(1):78-91
The emergence of social media raises new questions concerning the relationship between journalists and politicians and between news media and politics. The increasingly complex media milieu, in which the boundaries between media producers and audiences become partly dissolved, calls for new theoretical approaches in the study of journalism. This article reassesses central theoretical arguments about the relationship between journalism, sources, politics and democracy. Drawing on a pilot study of the printed press, it explores the increased social media use among politicians in Sweden and its implications for political journalism. The article suggests that power relations between journalism and politics can be fruitfully explored from the perspective of mediatized interdependency, a perspective that acknowledges that journalists and politicians have become both actors and sources through mutual interaction in online spaces. Furthermore, it argues that social media use has expanded journalism's interest in the private life of politicians, thereby contributing to a de-politicization of politics. 相似文献
18.
《Journalism Practice》2013,7(2):157-171
Computational journalism involves the application of software and technologies to the activities of journalism, and it draws from the fields of computer science, the social sciences, and media and communications. New technologies may enhance the traditional aims of journalism, or may initiate greater interaction between journalists and information and communication technology (ICT) specialists. The enhanced use of computing in news production is related in particular to three factors: larger government datasets becoming more widely available; the increasingly sophisticated and ubiquitous nature of software; and the developing digital economy. Drawing upon international examples, this paper argues that computational journalism techniques may provide new foundations for original investigative journalism and increase the scope for new forms of interaction with readers. Computational journalism provides a major opportunity to enhance the production of original investigative journalism, and to attract and retain readers online. 相似文献
19.
Caroline Fisher 《Journalism Practice》2016,10(3):373-386
When a journalist returns to political reporting after working as a political media adviser it can trigger concern about conflict of interest based on a suspicion of partisanship. Despite this, there is little discussion in the journalism literature about how reporters should manage this type of conflict when it arises. This paper reports on a selection of findings from wider inductive, qualitative research into the career transition from journalism to political media advising and back again. Semi-structured, in-depth interviews conducted with 21 journalists who had moved between the two roles revealed that the media advisers took four main routes back to journalism in an attempt to manage the possible conflicts: “Escape”; Being “laundered”; Going “straight back in”; and “Cooling-off”. Based on these findings, this paper argues that a uniform approach to managing the transition from political advising to journalism could be useful in easing public concern about conflicts of interest. 相似文献