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Revisiting Places and People: How Immersion and Cohesion Are Created in Danish Digital Long-Form Journalism That Deals with Climate Change
Abstract
In 2004 the Danish newspaper Jyllands-Posten made a series of long-form investigative reports on environmental changes in places such as Tuvalu, Delhi and Copenhagen. In 2019 the newspaper repeated the reporting by revisiting the same places spanning five different continents. The new series of long-form digital productions named “The Climate Tour 2019” was produced by the same journalists as the 2004 reporting series, but the 2019 series naturally, made further use of new digital storytelling tools. This chapter delivers a comparative analysis of the Jyllands-Posten between the 2004 and 2019 reports focusing on the use of digital elements to create a cohesive and immersive experience.
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This edited collection addresses climate change journalism from the perspective of temporality, showcasing how various time scales—from geology, meteorology, politics, journalism, and lived cultures—interact with journalism around the world.
Analyzing the meetings of and schisms between various temporalities as they emerge from reporting on climate change globally, Climate Change and Journalism: Negotiating Rifts of Time asks how climate change as a temporal process gets inscribed within the temporalities of journalism. The overarching question of climate change journalism and its relationship to temporality is considered through the themes of environmental justice and slow violence, editorial interventions, ecological loss, and political and religious contexts, which are in turn explored through a selection of case studies from the US, France, Thailand, Brazil, Australia, Spain, Mexico, Canada, and the UK.
This is an insightful resource for students and scholars in the fields of journalism, media studies, environmental communication, and communications generally.
American journalists regularly humanize marginalized communities in an attempt to bridge social distance. Journalists’ techniques for doing so may constrain representations to the level of individual turmoil and resilience without accounting for structural factors, however, which has troubling social justice implications. This study examines how journalists humanize homeless people in the case of the collaborative San Francisco Homeless Project. Textual analysis of 325 stories complemented by in-depth interviews with journalists finds that journalists predominantly evoke empathy at a personal level and less frequently enact solidarity at a political level. Personal stories humanize members of marginalized communities through narratives of individual exceptionalism and relatability, which establish grounds for empathy. In contrast, politicized stories enact solidarity through a technique of radical inclusion that begins with marginalized people's analytical perspectives. With an ethic of empathy, journalism may encourage interpersonal harmony at an individual level but does little to bring the shared conditions of social injustice experienced across a community into focus—whereas with an ethic of solidarity, journalism becomes equipped to represent paths toward a more just society.
News stories aim to create an immersive reading experience by virtually transporting the audience to the described scenes. In print journalism, this experience is facilitated by text-linguistic narrative techniques, such as detailed scene reconstructions, a chronological event structure, point-of-view writing, and speech and thought reports. The present study examines how these techniques are translated into journalistic multimedia stories and explores how the distinctive features of text, image, video, audio, and graphic animations are exploited to immerse the audience in otherwise distant news events. To that end, a case study of the New York Times multimedia story Snow Fall is carried out. Results show that scenes are vividly reconstructed through a combination of text, image, video, and graphic animation. The story's event structure is expressed in text and picture, while combinations of text, video, and audio are used to represent the events from the viewpoints of news actors. Although text is still central to all narrative techniques, it is complemented with other media formats to create various multimedia combinations, each intensifying the experience of immersion.
Digital longform journalism has recently attracted increased attention among both academics and professionals. This study contributes to the growing body of research by dissecting the multimodal structure of digital longform journalism, that is, how the emerging genre combines written language, photography, short videos, maps and other graphical elements, and joins them together into a seamless narrative using subtle transitions. The data consists of 12 longform articles published in 2012–2013, which have been annotated for their visual and verbal content, their underlying principle of organization, and the transitions that hold between them. The annotation is stored into a digital corpus, which is then analysed to examine the multimodal structures that enable the longform genre to establish a narrative, and to explicate how the longform attempts to captivate its audience by creating a distraction-free environment.
Since The New York Times published Snow Fall in 2012, media organizations have produced a growing body of similar work characterized by the purposeful integration of multimedia into long-form journalism. In this article, we argue that just as the literary journalists of the 1960s attempted to write the nonfiction equivalent of the great American novel, journalists of the 2010s are using digital tools to animate literary journalism techniques. To evaluate whether this emerging genre represents a new era of literary journalism and to what extent it incorporates new techniques of journalistic storytelling, we analyze 50 long-form multimedia journalism packages published online from August 2012 to December 2013. We argue that this new wave of literary journalism is characterized by executing literary techniques through multiple media and represents a gateway to linear storytelling in the hypertextual environment of the Web.
News making and reporting are caught in a process of rationalisation which can be summarised in the injunction to produce fast, to write short and simple, and to value useful news for audiences only interested by practical matters. This paper would, firstly, suggest that if this new style of journalism has produced interesting innovations, its costs are more worthy of debate than its contributions. It would then argue that mobilising the competitive advantages of a tradition of investigative and narrative journalism may be a reasonable bet to struggle against the news supplied by blogs, aggregators and short-format news sources. A third part suggests how this apparent “back to basics” approach involves nonetheless significant changes in both the training of journalists and the nature of the medium used for the diffusion of this renewed style of reporting.
Website history can be considered an emerging discipline at the intersection between media history and Internet history. In this discipline, the individual website is regarded as the unifying entity of the historical analysis rather than the Internet or the Web. Writing the history of a website involves using many sources and methods similar to those used in writing the history of any other media type. But one document type requires special attention: the archived website. This is so because the problems involved in finding, col - lecting and preserving the website are different from those characterizing the archiving of other types of traces of human activity, including other media types. The primary problem is that the actual act of finding, collecting and preserving changes the website that was on the live web in a number of ways, thus creating a unique version of it and not simply a copy. The present article sets out, first, to discuss to what extent the archived website can be considered a new type of historical document and how its characteristics affect the task of the website historian who must later use it; second, the article discusses and attempts to formulate some methodological principles, rules and recommendations for a future critical textual philology of the website.
The ongoing evolution of the Web poses challenges for scholars as they seek to develop methodological approaches permitting robust examination of Web phenomena. Some of these challenges stem from the nature of the Web, which is a unique mixture of the ephemeral and the permanent. Increasingly complex Web applications that are altering traditional relationships between media form and content challenge the adaptation of traditional approaches to social research on the Web. Web-based media require new methods of analyzing form and content, along with processes and patterns of production, distribution, usage and interpretation. We identify three sets of approaches that have been employed in Web-related research over the last decade. Distinguishing between these approaches helps establish the trajectory of Web studies; highlighting the strengths and weaknesses of each focuses attention on the methodological challenges associated with the field of Web studies.
Twitter - a microblogging service that enables users to post messages ("tweets") of up to 140 characters - supports a variety of communicative practices; participants use Twitter to converse with individuals, groups, and the public at large, so when conversations emerge, they are often experienced by broader audiences than just the interlocutors. This paper examines the practice of retweeting as a way by which participants can be "in a conversation." While retweeting has become a convention inside Twitter, participants retweet using different styles and for diverse reasons. We highlight how authorship, attribution, and communicative fidelity are negotiated in diverse ways. Using a series of case studies and empirical data, this paper maps out retweeting as a conversational practice.
In journalism studies, an interest in emotions has gathered momentum during the last decade, leading to an increasingly diverse investigation of the affective and emotional aspects of production, text and audience engagement with journalism which we describe as an “emotional turn.” The attention to emotion in journalism studies is a relatively recent development, sustained by the concurrent rise of digital information technologies that have accentuated the emotional and affective everyday use of media, as well as the increasing mobilization, exploitation and capitalization of emotions in digital media.
This special issue both builds upon research on emotion in journalism studies and aims to extend it by examining new theoretical and methodological tools, and areas of empirical analysis, to engage with emotion or affect across the contexts of journalistic production, content and consumption.
In proclaiming ‘an emotional turn’ in journalism studies, the intention of this special issue is not to suggest a paradigm shift or a major change in the prevailing research agenda in the field. Rather, against the backdrop of the increasingly diverse field of journalism studies, it is to point out that the relationship between journalism and emotion represents a rapidly developing area of inquiry, which opens up for new research agendas.
The New York Times' 2012 publication of John Branch's "Snow Fall: The Avalanche at Tunnel Creek" reinvented the template for digital longform articles designed for the tablet and inspired other media outlets to create similar products. This essay uses three case studies-a legacy newspaper (New York Times), a sports media outlet (ESPN), and a legacy magazine (Sports Illustrated)-to illuminate how different companies use digital longform to build their brands and compete for market share in the wake of "Snow Fall." Special attention is given to how these companies deploy "Snow Fall's" signature elements to distinguish their brand identities in the race for the growing demographic of tablet users. As an emblem of its company's efforts to build journalistic prestige, each work functions as a "cognitive container" in which media add-ons work to hold reader attention rather than scatter it to external Web sources. These examples suggest digital journalism represents an important development in convergence culture and illustrate this emergent form's industrial, institutional, and cultural uses.
Digital longform stories, understood as complex journalistic projects rich in text and multimedia elements, represent a unique feature within the field of professional online journalism and are seen as a counter-development to the current trend of quick, bite-size news. On the assumption that the production of such stories differs from daily news production routines, the production processes of this innovative format are analysed. Based on a qualitative content analysis of guided interviews with U.S. and German producers of award-winning digital stories, including The New York Times, The Washington Post, CNN, and the FAZ, in-depth insights into digital storytelling production are derived. These insights include the different required phases of a longform production, the strategic and narrative objectives the journalists pursue as well as problems they encounter. The results serve as an orientation for how to produce successful digital stories, and thereby function as a bridge between theory and practice.
The Danish media system is a hybrid one where strong public service broadcasters and private print and broadcast media co-exist. This chapter, first, analyzes the market structure, measuring the degree of market concentration in newspapers, television, and radio and mapping state intervention. The analysis shows that all these media markets are highly concentrated: the four dominant television and radio broadcasters account for 80–90 % of total viewing/listening, the four dominant newspaper publishers for around 75 % of total circulation. The extent of state intervention also is high in Denmark, where the state owns the dominant television and radio actors and subsidizes the newspapers directly as well as indirectly. Second, the chapter outlines the policies in place for supporting innovation in the news media industry, focusing in particular on Act no. 1604 of 2013, which introduced subsidies for digital publishers and an earmarked pool to stimulate media innovation. However, the fact that not the entire innovation pool has actually been allotted to media innovation questions how appropriate the criteria for eligibility are. Third, the chapter makes recommendations for future revision of the media subsidy and innovation policy framework.
The 21st century is awash with ever more mixed and remixed images, writing, layout, sound, gesture, speech, and 3D objects. Multimodality looks beyond language and examines these multiple modes of communication and meaning making. Multimodality: A Social Semiotic Approach to Contemporary Communication represents a long-awaited and much anticipated addition to the study of multimodality from the scholar who pioneered and continues to play a decisive role in shaping the field. Written in an accessible manner and illustrated with a wealth of photos and illustrations to clearly demonstrate the points made, Multimodality: A Social Semiotic Approach to Contemporary Communication deliberately sets out to locate communication in the everyday, covering topics and issues not usually discussed in books of this kind, from traffic signs to mobile phones. In this book, Gunther Kress presents a contemporary, distinctive and widely applicable approach to communication. He provides the framework necessary for understanding the attempt to bring all modes of meaning-making together under one unified theoretical roof. This exploration of an increasingly vital area of language and communication studies will be of interest to advanced undergraduate and postgraduate students in the fields of English language and applied linguistics, media and communication studies and education.
The New York Times’ 2012 publication of John Branch’s “Snow Fall: The Avalanche at Tunnel Creek” reinvented the template for digital longform articles designed for the tablet and inspired other media outlets to create similar products. This essay uses three case studies—a legacy newspaper (New York Times), a sports media outlet (ESPN), and a legacy magazine (Sports Illustrated)—to illuminate how different companies use digital longform to build their brands and compete for market share in the wake of “Snow Fall.” Special attention is given to how these companies deploy “Snow Fall’s” signature elements to distinguish their brand identities in the race for the growing demographic of tablet users. As an emblem of its company’s efforts to build journalistic prestige, each work functions as a “cognitive container” in which media add-ons work to hold reader attention rather than scatter it to external Web sources. These examples suggest digital journalism represents an important development in convergence culture and illustrate this emergent form’s industrial, institutional, and cultural uses.
Current research suggests that the media play an important part in informing and engaging citizens in environmental issues. Building on these findings, this study adopts a political socialization approach to citizens' involvement in everyday-life pro-environmental behavior. Multivariate analysis of recent survey data from Swedish adolescents (N = 1148) demonstrates direct as well as indirect relationships between frequency of news media use, talk about environmental issues with parents and peers, and extent of pro-environmental behavior. The findings are consistent with the notion that news media use promotes behavior by raising awareness of environmental issues. The results are also discussed in terms of a citizen-communication framework according to which interpersonal communication translates environmental information gleaned from news sources to adolescents' everyday-life reality, thereby motivating pro-environmental behavior. Future directions for examining causal mechanisms in more detail are discussed.
This study examines the journalistic discourse in American trade publications toward a storytelling format, competitive in contemporary daily papers, which has long been considered as not appropriate for objective news writing. Thomas Kuhn’s concept of ‘paradigm’ was employed in examining and analyzing narrative discourse in trade journals. The outcome of text-analysis revealed that assenters in narrative news writing outnumbered the dissenters; narrative upholders have vividly attempted to construct a friendly perspective toward a storytelling format by eulogizing the prose style, battering the old form of news production, and distancing the previous literary movement from contemporary narrative news writing. The author concludes that the change of journalistic perception toward the narrative style documents the hierarchical relationship between the occupational ideology and the market ideology within which the journalistic paradigm of news writing can be modified and replaced when the established one — the inverted pyramid news writing — fails to satisfy the concerns of the media industry.
Recent events indicate that sharing news in social media has become a phenomenon of increasing social, economic and political importance because individuals can now participate in news production and diffusion in large global virtual communities. Yet, knowledge about factors influencing news sharing in social media remains limited. Drawing from the uses and gratifications (U&G) and social cognitive theories (SCT), this study explored the influences of information seeking, socializing, entertainment, status seeking and prior social media sharing experience on news sharing intention. A survey was designed and administered to 203 students in a large local university. Results from structural equation modeling (SEM) analysis revealed that respondents who were driven by gratifications of information seeking, socializing, and status seeking were more likely to share news in social media platforms. Prior experience with social media was also a significant determinant of news sharing intention. Implications and directions for future work are discussed.
Using the framework of social representations theory--more precisely the concepts of anchoring and objectification--this article analyses the emotions on which the media reporting on climate change draws. Emotions are thereby regarded as discursive phenomena. A qualitative analysis of two series in Swedish media on climate change, one in a tabloid newspaper and one in public service television news, is presented showing how the verbal and visual representations are attached to emotions of fear, hope, guilt, compassion and nostalgia. It is further argued that emotional representations of climate change may on the one hand enhance public engagement in the issue, but on the other hand may draw attention away from climate change as the abstract, long-term phenomenon of a statistical character that it is.
Multimodal Discourse on Online Newspaper Home Pages: A Social-semiotic Perspective
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