Liquid Modern Journalism with a Difference

Jaakkola, Maarit; Hellman, Heikki; Koljonen, Kari; Väliverronen, Jari

doi:10.1080/17512786.2015.1051361

Cited by 24 publications

(3 citation statements)

References 33 publications

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“…Research indicates that the cultural and aesthetic paradigm of specialization in cultural journalism and criticism is increasingly being subordinated to the media professional or organizational paradigm, focusing on news values, news genres, adaption to reader interests, and new patterns of use-or media logics (Hellman and Jaakkola 2012;Jaakkola et al 2015;Larsen 2008;Kristensen and From 2011). Generalists are thus challenging the specialists among the professional cultural journalists.…”

Section: The Professional Cultural Journalistmentioning

confidence: 99%

From Ivory Tower to Cross-Media Personas

Kristensen¹,

From²

2015

Journalism Practice

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This article introduces a theoretical typology of four rival yet converging ideal types of cultural critics in contemporary media culture and in cultural journalism, more specifically, encapsulated by the term the heterogeneous cultural critic and characterized by different kinds of authority and expertise: (1) the intellectual cultural critic, who is closely connected to an aesthetic tradition, bohemia and/or academia, or institutionalized cultural capital; (2) the professional cultural journalist, who is first and foremost embedded in a media professional logic; (3) the media-made arbiter of taste, whose authority is closely linked to practical experience with cultural production and repeated charismatic media performances; and (4) the everyday amateur expert, who offers subjective opinions and represents experience-based cultural taste. The aim is to provide an analytical minimum model for future empirical studies by outlining the contours of the multiple, objective and subjective, professional and non-professional cultural "authorities" of contemporary media culture. KEYWORDS celebrity capital; charismatic authority; cultural criticism in the media; cultural journalism; heterogeneous cultural critics; media capital; media intellectuals

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Section: The Professional Cultural Journalistmentioning

confidence: 99%

From Ivory Tower to Cross-Media Personas

Kristensen¹,

From²

2015

Journalism Practice

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“…However, due to limited resources, such an extensive measure of data collection and coding was not possible within this study. Nevertheless, previous research that focused on changes in cultural journalism (Hellman & Jaakkola, 2012;Sarrimo, 2017;Heikkilä et al, 2018;Widholm et al, 2019) had already shown instability and direct (inter)dependency on sources (Kristensen, 2018) and the rather liquid structure of reporting practices and standards (Jaakkola et al, 2016). Therefore, other interesting questions for further research would involve the other pole of content production collaboration, namely, the cultural organisations' communication activities.…”

Section: Discussionmentioning

confidence: 95%

Reporting like there was no pandemic

Jaakkola

2023

MedieKultur

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The COVID-19 pandemic has caused both a widespread public health crisis and a global economic crisis, disrupting every aspect of our lives, health, education, jobs, and social life. To provide the public with trustworthy and continuously updated information and stories during uncertain times, newsrooms have made pandemic coverage a priority. Conducting a content analysis of Norwegian news and debate programs on radio and television throughout 2020, we found that the frames most dominant in news broadcasts were the least used frames in debate programs, and vice versa. Overall, the five most common frames were societal consequences, economic consequences, medical risk, government measures, social behaviour, and risk. This suggests that the COVID-19 pandemic was contextualized as an economic and social crisis as well as a health crisis. However, the lack of politicization, conflict and responsibility frames, suggests media coverage missed a critical perspective.

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“…Publikumsanalysen brukes mer som oppmuntring for gode prestasjoner enn som motivasjon til å øke attraktiviteten. Påstanden om at kulturjournalister ofte er grunnleggende skeptiske til å aktivt søke bred appell (Jaakkola et al, 2015), underbygges når informanter identifiserer et motstridende forhold mellom, på den ene siden, å vite hva publikum vil ha, og på den andre, å uttrykke en autentisk, uavhengig mening.…”

Section: Diskusjon Og Konklusjonunclassified

Kritisk tilstand: Har kritikeren utspilt sin rolle som smakens portvakt?

Owren

Sjøvaag

2023

NMT

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I denne artikkelen utforsker vi rolleforståelsen til norske musikkritikere som publiserer i allmenne nyhetsmedier. Artikkelen har søkelys på hvordan kritikerrollen reforhandles i tråd med den digitale utviklingen av musikkonsum og journalistikkproduksjon. Dybdeintervjuer med fem norske kritikere illustrerer hvordan rollen utfordres av sviktende etterspørsel, endrede lyttervaner og utydelige skiller mellom en profesjonell kritiker og nye typer forbrukerveiledere. Studien finner at overgangen fra fysiske musikkformater til strømmetjenester svekker etterspørselen etter forbrukerveiledning, samtidig som musikk blir en mindre viktig identitetsmarkør. Begge disse tendensene påvirker kritikerens evne til å rettferdiggjøre seg selv overfor produsentens ressursperspektiv ut ifra en teoretisk ramme som konseptualiserer hverdagsjournalisten som en veileder innenfor områdene identitet, konsum og følelser.

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Liquid Modern Journalism with a Difference

Cited by 24 publications

References 33 publications

From Ivory Tower to Cross-Media Personas

From Ivory Tower to Cross-Media Personas

Reporting like there was no pandemic

Kritisk tilstand: Har kritikeren utspilt sin rolle som smakens portvakt?

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