Participatory Journalism And Reader Comments In Croatia

"Online discussions in the form of readers' comments are a central part of many news sites and social media platforms. In this book, Tamara Kunić explores and interprets the ways in which digital technology has impacted the production and dissemination of content and the need to adapt in the age of a new audience, the prosumer"--

This volume explores the rise of immersive technologies such as virtual reality, augmented reality, and 360 videos in the newsroom and how they affect newsmaking for journalists, news sources, and audiences. As these technologies offer journalists new and exciting opportunities to connect more deeply, emotionally, and presently with their audience, they also introduce unique ethical and practical questions concerning the collection and use of biometric, sensory, and metadata. Contributors analyze this shift from passive consumption to active engagement in order to investigate the positive and negative impacts that immersive technologies can have on journalistic norms, professional ethics, audience engagement, and data protection. Ultimately, this volume highlights both the potential for these technologies to redefine the relationship between news producers and consumers and the potential challenges their integration may pose. Scholars of journalism, communication, science & technology studies, and digital media will find this book particularly useful.

Who makes the news in a digital age? Participatory Journalism offers fascinating insights into how journalists in Western democracies are thinking about, and dealing with, the inclusion of content produced and published by the public. A timely look at digital news, the changes it is bringing for journalists and an industry in crisis Original data throughout, in the form of in-depth interviews with dozens of journalists at leading news organizations in ten Western democracies Provides a unique model of the news-making process and its openness to user participation in five stages Gives a first-hand look at the workings and challenges of online journalism on a global scale, through data that has been seamlessly combined so that each chapter presents the views of journalists in many nations, highlighting both similarities and differences, both national and individual

The future of newspapers is hotly contested. Pessimistic pundits predict their imminent demise while others envisage a new era of participatory journalism online, with yet others advocating increased investment "in quality journalism" rather than free gifts and DVDs, as the necessary cure for the current parlous state of newspapers. Globally, newspapers confront highly variable prospects reflecting their location in different market sectors, countries and journalism cultures. But despite this diversity, they face similar challenges in responding to the increased competition from expansive radio and 24 hour television news channels; the emergence of free "Metro" papers; the delivery of news services on billboards, pod casts and mobile telephony; the development of online editions, as well as the burgeoning of blogs, citizen journalists and User Generated Content. Newspapers’ revenue streams are also under attack as advertising increasingly migrates online. This authoritative collection of research based essays by distinguished scholars and journalists from around the globe, brings together a judicious mix of academic expertise and professional journalistic experience to analyse and report on the future of newspapers. This book was published as special issues of Journalism Practice and Journalism Studies.

As Democracy Goes, So Does Journalism: Evolution of Journalism in Liberal, Deliberative, and Participatory Democracy explores the symbiotic relationship between democracy and journalism in an engaging historical narrative. From a liberal to a deliberative and to a participatory model, theories and practices of democracy are constantly looking for better governance. How is journalism evolving to match the vibrant changes in its democratic counterpart? This book suggests that the dominant trustee model of journalism that flourished in liberal democracy has waned; the civic-minded public journalism in deliberative democracy has had ups and downs; and the free-wheeling citizen journalism in participatory democracy is now under the spotlight, whether for its brilliance or ill repute. This book attempts to answer the vital questions facing journalism today, namely its identities, functions, and relationship to democracy and the good life. Scholars and students of journalism as well as the public interested in the past, present, and future of journalism will find this book valuable.

This volume sets out the state-of-the-art in the discipline of journalism at a time in which the practice and profession of journalism is in serious flux. While journalism is still anchored to its history, change is infecting the field. The profession, and the scholars who study it, are reconceptualizing what journalism is in a time when journalists no longer monopolize the means for spreading the news. Here, journalism is explored as a social practice, as an institution, and as memory. The roles, epistemologies, and ethics of the field are evolving. With this in mind, the volume revisits classic theories of journalism, such as gatekeeping and agenda-setting, but also opens up new avenues of theorizing by broadening the scope of inquiry into an expanded journalism ecology, which now includes citizen journalism, documentaries, and lifestyle journalism, and by tapping the insights of other disciplines, such as geography, economics, and psychology. The volume is a go-to map of the field for students and scholars—highlighting emerging issues, enduring themes, revitalized theories, and fresh conceptualizations of journalism.

Demonstrating the range of linguistic and semiotic practices which are deployed in the construction of war memory, The Burden of Traumascapes investigates the discourses of remembering that are enculturated in the everyday lives of the people of Bosnia-Herzegovina. Maida Kosatica explores how the memory and narratives of the Bosnian War (1992-5) convey and renegotiate historical acts of violence in quite ordinary, banal ways and extend the war into the present day. Reintroducing the concept of 'traumascapes', this book demonstrates that semiotic landscapes are marked by traumatic legacies of violence in which the sense of trauma establishes its meaning through the discourses of remembering. In this context, this book argues that discourses of remembering, whether constructed in physical or virtual spaces, stem simultaneously from personal and collective needs to follow moral orders and responsibility, as well as from political, pedagogical and economic demands.

Sounds of the Borderland is the first book-length study of how popular music became a medium for political communication and contested identification during and after Croatia's war of independence from Yugoslavia. It extends existing cultural studies literature on music, politics and the state, which has largely been grounded in Western European and North American political systems. It also responds to an emerging fascination with the culture and politics of contemporary south-east Europe, expanding scholarship on the post-Yugoslav conflicts by going on to encompass significant social and political changes into the present day. The outbreak of war in 1991 saw almost every professional musician in Croatia take part in a wave of patriotic music-making and the powerful state television system strive to bring popular music under its control. As the political imperative shifted from securing national survival to consolidating a homogenous nation-state, the music industry responded with several strategies for creating a national popular music, producing messages about the nation and, in the ongoing debates over the origins of the folk music that inspired many songs, a way to define the nation by expressing what Croatia was not. The war on ethnic ambiguity which cut through individuals' social and creative lives played out across the airwaves, sales racks and gossip columns of a small country that imagined itself a historical and cultural borderland. These explicit and implicit narratives of nationhood connect many political phases: the months of fiercest fighting, the stabilised front, the uneasy post-war years when the symbolic frontline region of eastern Slavonia had still not returned to Croatian sovereignty, the euphoria and instability after the end of the Tudjman regime in 2000, and Croatia's fraught journey towards the European Union. Baker's book provides valuable insight into the role of music in a wartime and post-conflict society and will be essential reading for researchers and students interested in south-east Europe or the transformation of entertainment during and after conflict.