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Journalism is considered a fundamental tool in disseminating culture, shaping intellectual eliteand reinforcing them through the presentation of news, information, and ideas in the fields of literature, arts, and sciences. It also plays a role in preserving and developing heritage. This role was prominent in Algerian journalism before independence, as it protected Algerian culture and intellectuals, promoted awareness, strengthened the sense of belonging, and fought various forms of cultural distortion. Many national titles emerged, such as the journalism of the Association of Muslim Ulema (Scholars)and reformist journalism. After independence, with the emergence of political and media pluralism and openness, the cultural role of newspapers did not change significantly but was confined to cultural pages and literary supplements of many public and private newspapers. This was aimed at presenting Algerian cultural heritage, preserving it, and supporting Algerian writers and intellectuals to strengthen Algerian cultural movements and thus build an authentic, solid, and strong Algerian cultural identity. Despite the financial, intellectual, and racial challenges, Algerian newspapers still play a decisive and strategic role in the process of cultural change and highlighting the cultural and intellectual structures existing in Algerian society. Based on the above, we aim to answer the following questions in our paper: - How did cultural journalism contribute to preserving Algerian intellectual and cultural identity? - What is the current status of cultural journalism in Algeria after independence? - What are the challenges faced by national journalism in supporting Algerian culture after independence?. [ABSTRACT FROM AUTHOR]

This paper aims to dissect the presence of female writers in the main four cultural supplements of Spanish reference press: Babelia (El país), Cultura/s (La vanguardia), El cultural (El mundo) and ABC cultural (ABC). For this, we analyzed the "books of the year" recommended between 2010 and 2021 (n = 1,286), as well as the juries in charge of elaborating these ranks. The results show the subsidiary role reserved for women in this sphere of cultural information: they barely author 25.3% of the selected books, although some degree is progress is observed in the historical series, after going from 4.8% in 2011 to 37.8% in 2020. The increase in the presence of women in the juries has contributed to this phenomenon --the correlation between ratio of women in both lists being statiscally significant (rs = 0.647, p < 0.001)--, together with the commitment of supplement such as Babelia and Cultura/s to literature written by women. On the contrary, there still seem to be pockets of exclusion in El cultural and ABC cultural, which reduce the visibility of work of female writers in Spain. According to our findings, women authors stand out for their youth (they are between 8 and 20 years younger than men, depending on the indicator), cosmopolitism (there are more foreign female writers, especially American, than Spanish) and origin (mainly, Madrid and Barcelona). This article evinces the collective imaginary, settled for centuries, by which literature was considered a men's affair, and reflects on the role of cultural journalism and its prescriptive function when it comes to breaking down gender stereotype --a task that, in view of the data provided in this paper, is still far from been completed. [ABSTRACT FROM AUTHOR]

Copyright of Brazilian Journalism Research is the property of Sur le journalisme, About journalism, Sobre jornalismo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Periférica Internacional. Revista para el Análisis de la Cultura y el Territorio is the property of Universidad de Cadiz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to describe the evolution of disability in cinema via its relationship with the specialized press. We analysed all movies’ data sheets from ‘Filmaffinity’ (n=1,180), together with all the professional reviews highlighted in them (n=2,000). The results show a preponderance of drama over other genres, although it is documentaries that obtain the best reception from cultural press. Women and Anglophone media tend to value these productions more favourably. In addition, the quality of the records, according to these experts, increases year after year. [ABSTRACT FROM AUTHOR]

Copyright of Trípodos is the property of Universitat Ramon Llull, Facultat de Comunicacio Blanquerna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Trípodos is the property of Universitat Ramon Llull, Facultat de Comunicacio Blanquerna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper studies the Culture section of the printed media with the aim of specifying the coherence between the theoretical proposals of the researchers and the practical exercise of the profession, as reference the case of Spain. A bibliographic review of theoretical and empirical proposals is developed, to relate the works that suggest how this specialization should be and the research results who describe what it is like in practice. Is there a gap between the two? And if so, where are the differences? Digital pressure favors imbalances between scientific and academic contributions and work routines. This approach serves as the basis for the case study in the printed versions of El País, ABC and El Mundo, where the comparative content analysis method has been applied. We observe the weight of the section in relation to the rest of the newspaper, issues, journalistic genres and complementary elements used. The paper concludes that there are coincident theoretical aspects and others that remain in utopias, as well as the evidence that this specialization is in process of transformation and innovation, partly influenced by its digital environment. [ABSTRACT FROM AUTHOR]

This paper seeks to explore the new landscape that has emerged during the period of the so-called “corona crisis” within arts (cultural) journalism, focusing specifically on theatre reporting and theatre reviewing. Drawing examples from the Greek and international print and online media, I aim to show the extent to which the sudden pause of artistic life and the rules of social distancing have reshaped not only the contents, formats and genres of journalistic writing for the arts, but also the very essence of the notion of cultural event and cultural news. The paper will consider the importance of the role of theatre journalists and critics in identifying and highlighting urgent issues within the arts in the context of the pandemic. It will also explore the new challenges that have emerged during (and, indeed, as a consequence of) the pandemic. Finally, it will ask if the changes in media coverage of the arts are only temporary, or if arts journalism is entering a new era.

Reviewers, as specialist writers legitimized as arbiters of taste by the artistic fields, form a distinct subculture within cultural journalism. The change in their status in the journalistic hierarchy is due to changes in the in-house policies of newsrooms. This paper outlines some key developments of reviews in Finnish dailies comparing changes in criticism with other journalistic genres. A quantitative analysis of the culture departments of five quality dailies (N = 5795) from 1978 to 2008 indicates the following trends. While staff workers in culture departments have increasingly taken responsibility for news production, the production of reviews has increasingly been outsourced. While cultural journalism in general undergoes a process of masculinization, criticism has been subjected to very little change. The average length of reviews has been cut by more than half, and the diminution of the high cultural canon is accompanied by the popularization of content. However, the number of unique reviewers has increased, potentially testifying to a more multi-voiced criticism. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the paper is to determine the peculiarities of representation and self-presentation of modern theatre actors of Ukraine through the prism of media coverage, in particular those specialized in the cultural sphere. The following scientific methods were used to investigate the issue: descriptive, analytical, inductive-deductive, survey, content analysis. The result of the study of the issue of a person in modern Ukrainian theatrical life through the prism of journalistic coverage of this sphere is the analysis of the conscious accentuation of attention on issues of all-Ukrainian importance by representatives of the theatre industry in Ukraine and beyond. As a result of the study of the issue of the theatrical realities of Ukraine in the journalistic discourse, the main aspects, to which the masters of the Ukrainian theatre attach importance, were determined. According to the results of a survey conducted among representatives of Ukrainian cultural journalism and representatives of the performing arts, an important role in the creative activity of a modern theatre person is the coverage of Ukrainian life, in particular, the realities of war, on the artistic stage.

This article explores community-conforming criticism published in local or community newspapers. Currently, professional cultural criticism is largely focused on capital-based and regional newspapers, as well as cultural magazines, implying the specialisation of work and compartmentalisation of content, while local newspapers cover a wide variety of societal issues and dedicate attention to culture in genres other than the review. The article analyses the findings from a three-year development project launched by the Finnish Critics' Association (2020–2023) that aimed to rethink reviewing in local journalistic settings. An analysis of the stories published until the summer of 2022 (n = 28) and semistructured theme interviews with the involved critics and staff journalists (n = 14) show the potential and challenges for local journalistic cultural criticism. Based on the analysis, I develop a theoretical framework for community-conforming criticism that places the primary focus on social values of art and preferences that rise from within the local community. [ABSTRACT FROM AUTHOR]

The present article examines journalism specialized in art and architecture in the print editions of the cultural supplements of three Spanish newspapers with the highest circulation in the country: Babelia (El País), ABC Cultural (ABC), and El Cultural (previously El Mundo, and currently, El Español) covering a twenty-five-year period. All three supplements consolidate visual arts and architecture into a unified section called Art. The main objective of this research is to analyze the Art sections, using the year 2018 as a case study and the twenty-five-year period (1993 to 2018) to investigate the evolution of cultural supplements. To undertake this study, I used the content analysis method. The results show a noticeable reduction in the length of the cultural supplements during the study period. This decline also entails a significant decrease in art content, with architecture severely affected. The conclusions of this study highlight the current precarious state of cultural supplements, the fundamental role of criticism, and the marginalization of architecture in these publications. [ABSTRACT FROM AUTHOR]

ABSTRACT – This paper presents an innovative cross-country analysis focused on the cultural coverage of two countries that have been connected since the colonial period, Brazil and Portugal. Aiming to map editorial patterns (sources, news values, cultural sectors, and people featured) and uncover stereotypes, we selected two reputable newspapers, the Brazilian Folha de S.Paulo and the Portuguese Público. A content analysis was performed on a sample of 1.118 news articles. Both media outlets present an elitist, western-centric, and scholarly notion of culture. We observed asymmetrical trends between the Brazilian and the Portuguese cultural coverage. RESUMO – Este artigo apresenta uma análise em perspectiva cruzada focada na cobertura cultural de dois países com relações iniciadas no período colonial, Brasil e Portugal. Com o objetivo de mapear padrões editoriais (fontes, valores-notícia, setores culturais e pessoas em destaque) e identificar estereótipos, selecionamos dois jornais de referência, o brasileiro Folha de S.Paulo e o português Público. Para tal, realizamos uma análise de conteúdo em uma amostra de 1.118 peças. Os dois jornais apresentam uma noção de cultura elitista, centrada no ocidente e de viés acadêmico. Observamos, também, tendências assimétricas entre a cobertura cultural brasileira e portuguesa. RESUMEN – Este artículo presenta un innovador análisis transversal centrado en la cobertura cultural de dos países que han estado conectados desde la época colonial, Brasil y Portugal. Con el objetivo de mapear patrones editoriales (fuentes, valores noticiosos, sectores culturales y personas destacadas) y descubrir estereotipos, seleccionamos dos periódicos de renombre, el brasileño Folha de S.Paulo y el portugués Público. Se realizó un análisis de contenido sobre una muestra de 1.118 artículos periodísticos. Ambos medios de comunicación presentan una noción de cultura elitista, centrada en Occidente y académica. Observamos tendencias asimétricas entre la cobertura cultural brasileña y portuguesa.

• Critics' reviews for films directed by those accused of sexual assault are analyzed to determine the techniques critics use for engaging with this context. • The number of reviewers incorporating allegations against the director into their reviews increased significantly after the onset of the #MeToo movement. • Strategies for maintaining critical distance are observed for critics with different stances on separating the art from the artist. • Critics that cannot separate the art from the artist have strategies for legitimately and authoritatively presenting their arguments. • Professional film critics are increasingly arguing for the impact of the director's personal life on the content of the film itself. This paper addresses the role of critics in evaluating a creative work when the creator has been accused of sexual misconduct. I explore how critics are influenced by their role as both cultural journalists and experts in the art world of film. Critics are often noted as serving as guides for audiences in alleviating quality uncertainty; here I will show how critics respond in an instance of ethical uncertainty. Conducting a content analysis of 136 film reviews from 10 different films released around the onset of the #MeToo movement, I define the various techniques critics employ to address the allegations against the director and incorporate this information into their evaluation of the film. Critics here have strategies for maintaining critical distance and legitimating their subjective emotional responses to the film. After the onset of the #MeToo movement, a noticeable shift in rhetoric can be seen through the simultaneous decrease in the number of reviews for these films and the increase in the proportion of reviews referencing the misconduct. In the unsettled period of the #MeToo era, the technique experiencing the most significant rise relates to the way critics establish the accusations against the director as being directly relevant to the quality and content of the film itself. [ABSTRACT FROM AUTHOR]

The 2020 COVID-19 outbreak led to business closures and social activity restrictions. In particular, the cultural sector was severely hit by lockdowns, placing cultural journalism within exceptional circumstances. In this article, we analyse how journalists overcame restrictions by developing a proactive approach to the cultural sphere. As cultural journalism largely leans on the coverage of pre-planned events, exploring the journalistic approaches employed during the pandemic may unveil essential factors in the cultural-journalistic concept of culture and country differences. Our data comprise three consecutive sample weeks from 2020-2021 (weeks 17,47, and 15) from the culture pages of the largest dailies of Finland, Sweden, and Latvia. Through comparative content analysis, we investigated the journalistic strategies of cultural desks. Using a story entity as the unit of analysis, we examined three aspects of story ideation: reliance on pseudo-events, choice and development of cultural-journalistic genres, and staging and storytelling methods regarding newsroom proactivity. We found differences in cultural concepts, including (dis)connections between art and society, which are frequently discussed in the literature. The results further indicate that proactivity can be a useful tool for developing future cultural journalism. [ABSTRACT FROM AUTHOR]

This exploration is a first attempt to bring together two strands of research in journalism studies--literary journalism studies and cultural journalism studies--to highlight some of the professional values and practices that literary and cultural journalists share. These include a commitment to everyday events, personal engagement, interpretation and emotions, voice, and providing cultural and aesthetic experiences. While it is important not to be blind to the differences between literary journalism and cultural journalism, it is also important to highlight their commonalities, because other forms of Western journalism, such as news reporting and political journalism, currently appear to be adopting features that literary and cultural journalism have in common. This suggests that while literary and cultural journalism may have gained momentum, they might also be losing some of their distinctive edge. To contextualize this analysis within the broader field of journalism studies, three journalistic trends are highlighted that serve as important perspectives for clarifying the kinship and momentum of literary and cultural journalism: the media's shift of attention from public affairs to everyday life, an interpretive turn in journalism, and a recognition of emotions as a part of journalism. The analysis suggests Denmark as a compelling geographic context for studying the links between literary journalism and cultural journalism because this Nordic country has recently seen media initiatives specifically encouraging literary approaches to cultural reporting. [ABSTRACT FROM AUTHOR]

This essay explores discourses on American quality serial television in Sweden's leading newspapers, and how a gradual discursive repositioning of quality TV – from the extraordinary to the everyday – is linked to Swedish television's transition into a screen culture increasingly dominated by commercial streaming services. The analysis of the newspaper material shows that the campaign to legitimate quality serial television as respectable art subsided after 2012, to give way to a wider set of conceptualizations of the program form and its role in Swedish television culture. Although the newspaper press includes a range of perspectives, from celebratory approaches to on-demand culture to concerns over audience atomization and diminishing artistic distinction, it is also possible to discern a more general reversal of terms – from originality to sameness, from scarcity to plentitude, and from distinction to mediocrity – that discursively relocates American quality serial TV from the sphere of extraordinary art to the sphere of everyday commercial mass culture. This discursive shift reflects a redefined field for cultural criticism, but also reads as an index of a transformation of television culture in Sweden in the wake of the breakthrough of commercial streaming around 2012. [ABSTRACT FROM AUTHOR]

The aim of this study is to map and scrutinize developments within Swedish cultural journalism, with a particular focus on transformations in genres, text types and thematic repertoires. Drawing on a constructed week sample from press, television and radio during four decades (1985, 1995, 2005, 2015), we address three aspects of 'the crisis discourse' of cultural journalism: (1) the potential decline in cultural coverage due to economic cutbacks and downsized cultural desks; (2) cultural journalism's perceived 'quality crisis' connected to transformations of thematic repertoires; and (3) the alleged decline of cultural expertise related to changes in cultural journalism's generic structures. The study makes a unique contribution to cultural journalism scholarship by identifying media-specific differences and complementary relationships between media forms, building on media ecology and genre theory. In contrast to the crisis discourse, results show that cultural journalism has expanded significantly through popularization and thematic and generic diversification, but the transformations are different in press, radio and television due to differing role positions in the larger media ecosystem. In addition, some parts of the cultural journalism media ecology appear to be endangered. [ABSTRACT FROM AUTHOR]

This article investigates the way Swedish cultural journalists from press, radio and television perceive the core and boundaries of their sub-field at a time when digitalisation and "journalistification" blur them even more. It draws on 27 in-depth interviews with cultural journalists that have worked in the field since the 1980s. What is defined as cultural journalism has expanded since the inclusion of popular culture in its mandate in the early 1990s. Despite this, cultural journalists at different media share similar understandings of their remit, even if self-identification with current practices varies somewhat by generation. The study shows how cultural journalists defend and negotiate the boundaries towards debate and opinion, and news and entertainment journalism. Cultural journalists experience pressure by management to be relevant, newsworthy and "clickable". Especially press respondents felt that cultural debates have become increasingly indistinguishable from societal debates, due to their visibility in the digital flow. How cultural journalists negotiate boundaries with entertainment and news desks varies somewhat depending on the media organisation. Boundary challenges appear through new genres related to liveness, personality-orientation and societal debate, all of which may conflict with the central task of cultural journalism—to provide in-depth reflection and expertise-based analysis. [ABSTRACT FROM AUTHOR]

In this article, I explore the reception of American "quality" serial television in Sweden from 1999 to the mid-2010s. My analysis includes how cultural critics and journalists writing for Sweden's leading newspapers conceptualised American serial television as "quality TV" and as legitimate "art", and it charts the ways in which these discourses relate to the reconfiguration of Swedish television from public service monopoly to niche-oriented multichannel system. The analysis uncovers a process of cultural consecration that was based on comparisons with already consecrated art forms, applications of authorship discourses that promote certain individuals as genius television auteurs, and deployment of critical protocols borrowed from literary criticism - all in service of pre-established cultural hierarchy and "good taste". This article also highlights the ubiquity of American quality serial television across the Swedish television landscape, which suggests that such programmes represent both a niche product and a mass phenomenon with extensive reach and multidimensional appeal. [ABSTRACT FROM AUTHOR]

This article examines the values and attitudes of Estonian music criticism in print publications. The findings suggest that state-subsidized publications are characterized by Romantic ideology, professionalism, and tradition, and cover almost exclusively classical music, whereas commercial publications review mostly popular music and adopt a more individualized, less normative attitude to music. While transnational studies have referred to the growing legitimation of the 'popular' in elite publications, the high–low discrimination evident in Estonian state-subsidized music journalism upholds the dominant cultural value hierarchy. This could be embedded in the institutional framework of Estonian music culture and its Soviet heritage. [ABSTRACT FROM AUTHOR]

The media is a key institution in producing, legitimizing and disseminating cultural classifications. From this perspective, newspapers and their sections devoted to culture are particularly interesting. This article examines how the structures of quality European newspapers have changed over time and in different socio-historical contexts, especially regarding the amount of space allocated to and the placement of articles related to culture. We draw on data from Helsingin Sanomat (Finland), Le Monde (France), ABC/El País (Spain), Dagens Nyheter (Sweden) and The Guardian (United Kingdom) – covering the time frame from 1960 to 2010. We use three types of data: individual articles about culture (N = 11,775), data on all the issues (N = 585) and full editions of the newspapers (N = 30). We show that the amount of space dedicated to culture has increased but that the placement of articles on culture has shifted slightly. We detect only weak signs of the assumed crisis of cultural journalism. [ABSTRACT FROM AUTHOR]

Eminescian cultural journalism means to dedicate several articles to literature, language, folklore, theater, religion, education and culture. In this paper, I pointed out that, of the 20 items about theater, 11 are dramatic chronics and 9 are theatrical dissertations. Like inter-war Camil Petrescu, the journalist Eminescu exceeded in the 8th and 9th decades of the nineteenth century and reviewed the status on all facets of this art of Thalia. From the hottest actors, performers game, fame authors, director role - intrinsic problems - from economic and sociological literature, such as salaries, the attitude of theatrical heads (anagers) public empathy. Success depends not only on the performance on stage or the sounds of the playwright - among those approached by the journalist

We are witnessing a paradigm shift regarding the theatrologist's position in the Romanian theatre environment. While, until recently, theatrology meant cultural journalism, this definition is no longer sufficient or attractive for secondary school graduates. Romania's higher education offer has changed increasingly in the last years, in the attempt to keep up with the requirements of the labour market; the solution was provided by the area of cultural management. Every last faculty in this sector covers the new direction of study and research. This article seeks to investigate the existing educational offers, which should allow an understanding and a new complete image of the theatrologist in Romania; in our opinion, this image will have an increasing impact on the national theatre community, shaped, of course, by the new directions of study. [ABSTRACT FROM AUTHOR]

This article argues that constructive journalism scholarship should look to service journalism and its subfields, cultural journalism and lifestyle journalism, to understand the key characteristics of this newer type of journalism. Though constructive journalism is typically associated with the reporting of political and social issues, it is also seen to challenge the traditional ways of writing about such hard news topics due to its positive and solution-oriented approach. In this respect, constructive journalism seems to reuse some of the approaches known from service journalism, especially in terms of audience address and an expanded social role for journalists. However, service journalism emerged in the increasingly commercialized and globalized media landscape of the post-World War II period, whereas constructive journalism has emerged in the digital media landscape of the 2010s. These historical contexts provide particular circumstances for both types of journalism. [ABSTRACT FROM AUTHOR]

Reviews of cultural products are central elements in creating, legitimizing and disseminating cultural tastes and hierarchies. In this empirical study, we examine the changes that have taken place in European newspaper reviews during the last 50 years (1960-2010). Our sample consists of 205 highbrow arts reviews found in Helsingin Sanomat (Finland), Le Monde (France), ABC/El País (Spain), Dagens Nyheter (Sweden) and The Guardian (UK). We analyse our sample using the framework of Shrum and observe possible changes in descriptive, entertainment, instructive, analytical and evaluative schemes of the reviews. Unlike one might expect in light of previous scholarly findings on the popularizing content of cultural journalism, the changes in European highbrow arts reviews between 1960 and 2010 are not drastic. If anything, the evaluation becomes more analytical and subtle, emphasizing the institutional role of highbrow arts reviews and the print newspaper as a traditional, rather conservative media. [ABSTRACT FROM AUTHOR]

Various studies report that cultural journalism increasingly focuses on service and entertainment instead of serious arts coverage. The press prioritizes popular culture over traditional high arts to a growing extent. However, this shift in journalistic attention does not necessarily signify a straightforward decline in aesthetic standards, as popular cultural forms like film have developed along the lines of high art principles in the past decades. This article charts trends in American, Dutch, French, and German film journalism between 1955 and 2005. It demonstrates that coverage is typified by a serious aesthetic approach from the 1970s onwards. The principles of art are seen to steer journalists’ attention to an important degree: the review remains the predominant journalistic genre, and newspapers devote more attention to films by prestigious directors than strictly commercial moviemakers. As such, film’s prominence in the press does not seem to indicate a decline in serious cultural journalism but rather a revaluation of a popular cultural form. [ABSTRACT FROM AUTHOR]

Cultural journalism is a matter of current discussions in jour­nalism theory and practical research. As a relatively small and specific area of journalistic practice, it operates in the intersection between media, culture in general, and arts and creative industries. The complexity, heterogeneity and variability of the field is determined by the major changes transforming all three intersecting areas – the new media, diversity of genres and the au­dience practices that characterize contemporary communication; liquidity and hybridity is a mark of the global postindustrial society, whereas art is more and more framed by the rise and convertibility of the concepts of crea­tive class, production, and capital. The self-reflection, conceptualisation of their work and the object of report and reference – culture – by the editors and producers from the Latvian cultural media outlets and departments is the topic of this paper. The main conclusions are that their concepts of cul­ture, cultural quality, and journalistic production, as well as the goals and principles of their work largely differ depending on the type and format of their medium. However, what unifies most of the respondents is the lack of more abstract conceptualisation of the complexity of the field and its social contexts with all the potential consequences for their work and the field of culture in general.

Based on comprehensive surveys in 2005 and 2013 among journalists, professional critics, and artists in Norway, this article analyses the cultural journalists’ position within the fields of journalism and culture. Although increasingly adhering to journalistic ideals and becoming more similar to other journalists through education and social recruitment, cultural journalism is still not the place to gain prestige and honour in the journalistic field. As cultural journalists tend to be recruited more from journalism schools than from higher education in the humanities, they also lack the skills and knowledge to be properly recognized within the cultural field. Cultural journalists seem to occupy a subordinated position in both fields—they are doubly dominated. The analysis also shows increasing differences between cultural journalists and professional critics. Cultural journalists are more anti-elite and populist in their view on culture than critics (and artists), and they are more likely than these groups to be supportive of the idea of culture as a private realm of leisure that should be guided more strongly by economic interests. There are signs of a division of labour where critique and high culture are left to professional critics, while employed cultural journalists with less formal competence adopt an advisory role in the realm of popular culture. With increasing coverage of popular culture and traditional criticism under pressure, these are signs of a less-critical cultural journalism that falls short of the idea of a cultural public sphere as a site for acquiring intellectual and cultural resources to (better) cope with the complexities of modern life. [ABSTRACT FROM AUTHOR]

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 termthe heterogeneous cultural criticand 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. [ABSTRACT FROM AUTHOR]

This article explores how nine Swedish cultural editors and managers in mainstream media institutions define cultural journalism and its political dimensions during times of increased digitization and media convergence. Swedish cultural journalism is aesthetic and political critique applied to subject areas (music, literature, etc.) and contemporary societal and ethical issues. Drawing on Zelizer we ask whether there is a common interpretive community of cultural journalists in different media regarding: (1) how they define their scope, (2) how they understand “the political” in cultural journalism and its implications for democracy, and (3) how they view media convergence and digitalization. We find that although editors/managers from different media share a basic understanding of cultural journalism as an alternative perspective to news, “the political” in cultural journalism is approached differently in the press and the public service broadcast media. Furthermore, due in part to structural conditions, they also see the effects of digitization differently, forming sub-communities on two counts. This study thus contributes new knowledge to a field previously focused almost exclusively on newspapers. [ABSTRACT FROM AUTHOR]

Reflecting a change from high to liquid modern culture, journalism is said to be encountering a transformation from high towards liquid modernity. Cultural journalism, however, has been found to be “journalism with a difference”. Due to this distinctive character, the principles of general journalism do not directly apply to cultural journalism. Consequently, the manifestations and consequences of the high and liquid modern ethos appear differently in cultural journalism. Proposing a theoretical framework of the core aspects of journalism—(1) knowledge, (2) audience, (3) power, (4) time, and (5) ethics—this article argues that cultural journalists differ from other journalists in their responses to the recent transformations in the professional values, working practices and the status of journalists. [ABSTRACT FROM AUTHOR]

Arts and cultural journalism have been found in numerous debates during recent decades to struggle in the midst of a crisis. This article traces the recorded discourse of professionalism that considers cultural journalism to be in a state of decline. A literature review on academic research and contributions in public debates provides an insight into the ‘crisis talk’ of the last two decades and unveils general controversies in the development of the professional culture of cultural journalism. By mapping the discourse in terms of the unfavourable directions that the development of cultural journalism has moved in, the analysis constructs a model for the future research of this specialized branch of journalism. [ABSTRACT FROM AUTHOR]

This article shows that blockbuster movies are predestined to receive media coverage not only because they are increasingly professionally promoted but also because they carry both 'publicist' and media commercial news value. The promotional culture surrounding the blockbuster movie event, including the attention devoted to celebrity actors and directors, attracts media audiences, while the movie itself may stimulate sociocultural debate on film esthetics, art, celebrity culture, and the cultural industries. Taking our point of departure in mediatization theory, we analyze the interwoven communicative forms of the film industry and the printed press. We exemplify our arguments with the coverage in Danish newspapers of 3 blockbusters, representing different points in time in the more recent history of film and news media. [ABSTRACT FROM AUTHOR]