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News Startups  

Nikki Usher and Aske Kammer

The rise of news startups in their modern incarnation has taken place on a global scale, and needs consideration as a phenomenon. First, a brief history of news startups is provided, followed by a theoretical framing that explores how they both differ from and normalize existing aspects of professional journalism. News startups stretch the boundaries of the profession through discursive claims about iteration and innovation, but nonetheless draw on the longstanding aspirations of legacy journalists for inspiration. The types of funding models are overviewed (philanthropic/nonprofit, government-funded, venture-backed for-profit, for-profit, and ideological-advocacy) and are posited against a matrix of types of news startups (original-content creators, aggregators/curators, platforms, and business-to-business). News startups face future challenges to their survival and a discussion is needed on their fragility in the context of flexible and venture labor.

Article

Convergence in/of Journalism  

Ivar John Erdal

Since the mid-1990s, media organizations all over the world have experienced a series of significant changes related to technological developments, from the organizational level down to the single journalist. Ownership in the media sector has developed toward increased concentration, mergers, and cross-media ownership. At the same time, digitization of media production has facilitated changes in both the organization and the everyday practice of journalism. Converged multimedia news organizations have emerged, as companies increasingly implement some form of cross-media cooperation or synergy between previously separate journalists, newsrooms, and departments. These changes have raised a number of questions about the relationship between organizational strategies, new technology, and everyday newsroom practice. In the literature on convergence journalism, these questions have been studied from different perspectives. Adopting a meta-perspective, it is possible to sort the literature into two broad categories. The first group consists of research mainly occupied with convergence in journalism. These are typically studies of organizational changes and changes in professional practice, for example increased cooperation between print and online newsrooms, or the role of online journalism in broadcasting organizations. The second group contains research primarily concerning convergence of journalism. This is mainly studies concerned with changes in journalistic texts. Some examples of this are repurposing television news for online publication, increased use of multimedia, and genre development within online journalism. It has to be noted that the two angles are closely connected and also share an interest in the role of technological development and the relationship between changing technologies, work practices, and journalistic output.

Article

Aggregation and Journalism  

Mark Coddington

News aggregation—or the process of taking news from published sources, reshaping it, and republishing it in an abbreviated form within a single place—has become one of the most prominent journalistic practices in the current digital news environment. It has long been an important part of journalism, predating reporting as a form of newsgathering and distribution. But it has often been a poorly, or at best incompletely, understood practice. Aggregation was widespread in the 18th and 19th centuries through copying and republishing of newspaper articles in ways that sometimes showed little regard for copyright or individual authorship. But in recent decades, more sophisticated forms of aggregation have proliferated, both automated and manual, and on virtually every digital platform on which news is disseminated. Aggregation draws from the norms and values of both modern professional journalism and Internet culture and writing. That amalgam of standards and practices shapes aggregation as a hybrid practice that is built on professional journalism yet marginal within it. News aggregators’ economic effect on the online news marketplace has been intensely debated, but research has shown them to be generally helpful to the news sites they aggregate from, expanding the news ecosystem and sending readers through hyperlinks. Their legal legitimacy has also come under scrutiny, though they have encountered significantly more restrictions in Europe than in the United States or elsewhere. Professionally, aggregation is built on the practices of reporting and relies on reporting as both the predominant source of its information and the blueprint for its methods of verification. But its defining characteristic is its secondary status relative to reporting, which shapes its methods of gathering evidence as well as its professional identity and values. Overall, news aggregation plays a growing role in the contemporary news environment, though its influence is complex, multifaceted, and ambiguous.

Article

Photojournalism  

Loup Langton

Photography has been a practical reality for about 190 years, and, from its beginnings, journalism seemed like a natural application of the medium since most people believed that the photograph was an objective representation of reality. During the years since the first surviving photograph was produced in a camera, the evolution of photojournalism has been driven by a combination of technology, public demand, and a passion for the profession by its practitioners. In the first decades after that initial photograph, improvements in lenses, negatives, and prints made photographic reportage of the Crimean War (1853–1856) and the American Civil War (1861–1865) possible. The British and American populaces created immense markets for war images, and entrepreneurial photographers such as Roger Fenton and Mathew Brady provided them. Technological advances in cameras, lenses, film, lighting, photographic reproduction methods, and an ability to transmit photographs worldwide continued to advance the boundaries of photojournalism throughout the 19th and 20th centuries. The topics of that work were mostly motivated by public demand. Wars, politics, photographs of “exotic” cultures from around the world, sports, everyday features, and celebrity portraits provided popular themes and continue to do so into the present, but photojournalists have also pursued subjects that they deemed important to humankind though not necessarily popular. Many have produced social, political, environmental, and cultural documentaries that challenge the status quo. Some have challenged this work as being outside the bounds of “objectivity,” but the usefulness of this argument has been rejected by many in the profession. Legendary photojournalist W. Eugene Smith, for example, stated succinctly, “there is nothing objective about journalism.” The final decade of the 20th century brought the evolution of the digital camera. Today’s photojournalism is almost exclusively a digital endeavor. The transformation of photography from analog to digital has revolutionized photojournalism in terms of workflow, mobility, transmission of images, ethics, image availability, and the question of “who is a photojournalist?” Finally, the gradual mutation of the term “photojournalism” to “visual journalism” denotes a transformation of the medium itself from the still image to a combination of still and moving images or perhaps exclusively moving images in the future. This, in turn, may fundamentally change the ways in which photojournalistic stories are told and experienced.

Article

Digital Media Ethics  

Charles Ess

Since the early 2000s, Digital Media Ethics (DME) has emerged as a relatively stable subdomain of applied ethics. DME seeks nothing less than to address the ethical issues evoked by computing technologies and digital media more broadly, such as cameras, mobile and smartphones, GPS navigation systems, biometric health monitoring devices, and, eventually, “the Internet of things,” as these have developed and diffused into more or less every corner of our lives in the (so-called) developed countries. DME can be characterized as demotic—of the people—in three important ways. One, in contrast with specialist domains such as Information and Computing Ethics (ICE), it is intended as an ethics for the rest of us—namely, all of us who use digital media technologies in our everyday lives. Two, these manifold contexts of use dramatically expand the range of ethical issues computing technologies evoke, well beyond the comparatively narrow circle of issues confronting professionals working in ICE. Three, while drawing on the expertise of philosophers and applied ethics, DME likewise relies on the ethical insights and sensibilities of additional communities, including (a), the multiple communities of those whose technical expertise comes into play in the design, development, and deployment of information and communication technology (ICT); and (b), the people and communities who use digital media in their everyday lives. DME further employs both ancient ethical philosophies, such as virtue ethics, and modern frameworks of utilitarianism and deontology, as well as feminist ethics and ethics of care: DME may also take, for example, Confucian and Buddhist approaches, as well as norms and customs from relevant indigenous traditions where appropriate. The global distribution and interconnection of these devices means, finally, that DME must also take on board often profound differences between basic ethical norms, practices, and related assumptions as these shift from culture to culture. What counts as “privacy” or “pornography,” to begin with, varies widely—as do the more fundamental assumptions regarding the nature of the person that we take up as a moral agent and patient, rights-holder, and so on. Of first importance here is how far we emphasize the more individual vis-à-vis the more relational dimensions of selfhood—with the further complication that these emphases appear to be changing locally and globally. Nonetheless, DME can now map out clear approaches to early concerns with privacy, copyright, and pornography that help establish a relatively stable and accepted set of ethical responses and practices. By comparison, violent content (e.g., in games) and violent behavior (cyber-bullying, hate speech) are less well resolved. Nonetheless, as with the somewhat more recent issues of online friendship and citizen journalism, an emerging body of literature and analysis points to initial guidelines and resolutions that may become relatively stable. Such resolutions must be pluralistic, allowing for diverse application and interpretations in different cultural settings, so as to preserve and foster cultural identity and difference. Of course, still more recent issues and challenges are in the earliest stages of analysis and efforts at forging resolutions. Primary issues include “death online” (including suicide web-sites and online memorial sites, evoking questions of censorship, the right to be forgotten, and so on); “Big Data” issues such as pre-emptive policing and “ethical hacking” as counter-responses; and autonomous vehicles and robots, ranging from Lethal Autonomous Weapons to carebots and sexbots. Clearly, not every ethical issue will be quickly or easily resolved. But the emergence of relatively stable and widespread resolutions to the early challenges of privacy, copyright, and pornography, coupled with developing analyses and emerging resolutions vis-à-vis more recent topics, can ground cautious optimism that, in the long run, DME will be able to take up the ethical challenges of digital media in ways reasonably accessible and applicable for the rest of us.