Photojournalism: A Social Semiotic Approach

Caple, Helen

doi:10.1057/9781137314901

Cited by 107 publications

(123 citation statements)

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“…In support of the position adopted in this study, the production process has been prioritised, considering that visual materials are usually supplemented on a second stage, that is once the text has been written and converted into a digital text during the production process and involving third parties. Common practices in newsrooms have been radically transformed in digital newsrooms by the increasingly massive participation of freelancers and different distribution of tasks (see Robinson 2011 andCaple 2013). Production practices in text composition should be bore in mind to account for the fi nal result in digital textuality, that is always the effect of multiple authors, from those who write and those who produce pictures or visual materials to those who fabricate the fi nal digital remediated artefact, including the work of reporters, chief editors, web, news, and chief sub-editors, who work with designers, picture editors, layout sub-editors, and text sub-editors (see Knox 2007Knox , 2009.…”

Section: Discussionmentioning

confidence: 99%

“…Third parties did the job, mainly drawing from large corporate databases providing stock images, for example Getty (see Machin 2004 and Machin/Mayr 2012 on this topic). Such associations are made quickly and not by the same authors of these texts, as they are constructed in newsrooms, hence loosening a single authoriality in page construction and composition, in contrast to personal blogging or citizen journalism (see Caple 2013). As shown by Machin (2004), the requirements of global corporations prompted dramatic changes in visual language, also with reference to online newspapers.…”

Section: Background Methods and Research Questionsmentioning

confidence: 99%

“…journalists, web designers, editors, and, broadly speaking, all that makes up a newsroom in the age of digitality, cf. Robinson 2011 andCaple 2013). Translation as transduction should not be interpreted as a mere transferral from one resource to another one, but is a system to remake meanings (Lemke 2002).This theoretical assumption will allow us to make claims with regard to the ideological positioning of those who produce media artefacts, with possible ideological shifts on the part of those who receive them.…”

Section: Introductionmentioning

confidence: 99%

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"The Semantics of Migration". Translation as Transduction: Remaking Meanings Across Modes

Sindoni

2017

HJLCB

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This paper adopts a multimodal critical discourse analysis (MCDA) approach to analyse how meanings are produced and circulated in British major corporate digital media outlets via the multimodal notion of transduction (Kress 1997;Mavers 2011;Newfi eld 2014). Transduction is a form of translation from one semiotic system to another one, for example from verbal language to images and vice versa. However, transductions cannot be interpreted as mere transferrals from one resource to another one, and are here interpreted as multiplying meanings (Lemke 2002). As a case study, this paper will select some online columns from the Telegraph and the Guardian, drawing from a monitor corpus that is under construction to date and that includes multimodal data from the British digital press reporting on the "European migrant crisis" in 2015. The columns selected for this study deal with how people on the move are and/ or should be labelled (e.g. Migrants? Refugees? Asylum seekers? Potential terrorists? See Baker et al. 2008). The columns will be commented qualitatively from a multimodal critical discourse framework of analysis, with the goal of shedding light on how pictorial materials (e.g. pictures and diagrams) can amplify, reduce or even contradict what is argued in the verbal text. In the conclusive remarks, some refl ections will be presented with a view to possible future lines of research.

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Section: Discussionmentioning

confidence: 99%

Section: Background Methods and Research Questionsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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"The Semantics of Migration". Translation as Transduction: Remaking Meanings Across Modes

Sindoni

2017

HJLCB

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“…Certainly, an aesthetically pleasing or 'balanced' image can construe the event as newsworthy precisely because of its 'beauty'. Aesthetics is certainly an important news value for some of the images discussed here (Caple 2013). Importantly for the concerns of favela residents, the 'beauty' of an image can invoke appreciation in the viewer of the scene/event/people depicted and help challenge negative stereotypes.…”

Section: Luiz Baltarmentioning

confidence: 96%

“Shared Photography”

Barconi

Mayr

2016

Journalism Practice

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“…Beyond work commissioned by the World Press Photo Foundation (see, especially, Campbell 2014(see, especially, Campbell , 2013(see, especially, Campbell , 2010 we could find only a handful of research studies specifically on professional news photojournalists as a group (Mortensen, 2014;Caple, 2013;Papadopolous & Pantti, 2011, Pantti & Bakker, 2009Taylor, 2000). Often this research looked at other groups too, such as amateur or citizen photographers (see, for instance, Allan 2015).…”

Section: Literature Reviewmentioning

confidence: 99%

The Future of Professional Photojournalism

Hadland¹,

Lambert

Campbell

2016

Journalism Practice

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The work practices of the professional photojournalist are currently undergoing rapid change in the digital era. New technologies, new platforms and new methods of visual storytelling are exerting a range of pressures and influences that require photojournalists to adapt and respond in different ways. The changes provoke a number of questions that are critical to the future of professional photojournalism: What are the new risks being faced by photojournalists? How are the transformations in the media economy affecting photojournalists' employment? What does this mean for image quality? How do photojournalists think about the manipulation of images or the staging of events? Given the rise of citizen journalism, digital technology and social media, will there even be professional photojournalists in the future?This paper presents some of the results and new analysis from the first international study into the current state and future of professional photojournalism, with a specific focus on risk and on perceptions of risk among photographers. The results indicate a high degree of risk is experienced among professional photographers with a very strong correlation to the country in which they are based. The research analyses data taken from 1,500 professional photojournalists from more than 100 countries and is a partnership between the University of Oxford's Reuters Institute for the Study of Journalism, the University of Stirling's journalism department and the World Press Photo Foundation, one of the premier platforms for the recognition of global excellence in photo-and videojournalism.

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Photojournalism: A Social Semiotic Approach

Cited by 107 publications

References 0 publications

"The Semantics of Migration". Translation as Transduction: Remaking Meanings Across Modes

"The Semantics of Migration". Translation as Transduction: Remaking Meanings Across Modes

“Shared Photography”

The Future of Professional Photojournalism

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