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This study examines a controversial piece of magazine journalism on cliquish culture in the Danish film industry, "Frygt og lede i Avedøre og omegn" [Fear and loathing in and around Avedøre] by René Fredensborg, which was featured in the Danish film magazine Ekko in 2011. The study identifies stylistic features that emerge as the reporter mixes playful Gonzo poses with injured personal testimony, ultimately blaming social forces or immersion as such for the consequences of his coverage. A personal narrative based on immersion would seem a promising way of exploring social dynamics in a small, Nordic, high-trust society such as Denmark's, especially in the domain of arts and culture, in which the roles and interests of journalists and cultural actors tend to overlap. Fredensborg's approach on this occasion, however, displays several pitfalls in the enactment of the dedicated, responsive style of engagement associated with literary journalism. Drawing on the trope of getting carried away, Fredensborg's story showcases a peculiar, passive form of responsiveness that serves to renounce professional and personal responsibility. [ABSTRACT FROM AUTHOR]

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Drawing on open-ended responses to a representative survey of US journalists, this article examines how journalists’ role conceptions may be associated with distinct perceptions of and practices toward audiences, whether online or offline. In particular, this research considers the potential for more reciprocal, or mutually beneficial, interactions between journalists and audiences. Using exploratory factor analysis and normalized index scores, journalists are characterized within four role conceptions. Results show that Populist Mobilizer and Entertainment roles are more associated with digital audience engagement, while Loyal Support and Public Service roles better characterize offline interactions. Findings point to a need for better explanations of how journalists’ role conceptions connect with their engaging (or not) in more purposeful, persistent and reciprocal interactions with audiences. [ABSTRACT FROM PUBLISHER]

This study examines ‘participatory journalism’ from the perspective of participants. Through a series of in-depth interviews with 32 participants from two different participatory journalistic environments set up by professional news organizations, we investigated how participants view and evaluate their participation in journalism. We propose that participants views progress through a series of four stages: anticipation, participation, evaluation and reconsideration. A clear breach is observed between the stage of anticipation and evaluation. We propose that this breach could be couched in terms of both a need and a wish for reciprocity, but also a lack of it. The term ‘reciprocity’ is inspired by Lewis et al.’s notion of ‘reciprocal journalism’ and Loosen and Schmidt’s conceptualization of journalism as a ‘social system’. Implications for the study of participatory journalism and journalism practitioners are discussed. [ABSTRACT FROM AUTHOR]

Hunter Stockton Thompson, considered the father of gonzo journalism, left a legacy not only for the profession itself but also for the academia. His remarkable biography was very relevant and resulted in a variety of works. The documentary made after his suicide aimed to expose the journalist and novelist behind his writings. This article aims to analyze the reconstruction of his biography and work, as well as to understand the imagery created by Thompson - and rescued by those who took part in the film. Qualitative methodology was used, prioritizing exploratory research and literature, focusing on film analysis to uncover what lies beyond the appearances. The object of study was contextualized addressing the rise of gonzo journalism and the beginning of Thompson's trajectory, dealing with general aspects of the film such as cinematic framework, staging and direction, and soundtrack. Finally, this paper reviews his controversial suicide, matter-of-factly seen by those who knew the writer [ABSTRACT FROM AUTHOR]