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Through long-form, creative, high-quality stories, slow journalism seeks to counteract the effects of speed and immediacy in news production and consumption primarily driven by technological advancements. The advantages of artificial intelligence (AI) in journalism include generating and enhancing content, reducing workloads, and consequently giving journalists more time for non-routine and creative tasks. This raises the question of where AI fits into slow journalism. Twenty-one semi-structured interviews were conducted with practitioners of slow journalism in Spain to explore their use, attitudes, and perceptions of AI in their work. The findings indicate that the interviewees make rudimentary use of AI tools, and their attitudes range from a slight lack of interest to a willingness to learn more about them, alongside concerns regarding ethical boundaries and the potential for job losses. They assert that they have a moral and human responsibility when producing stories that AI cannot enhance in terms of quality, creativity, and emotional depth. It can be concluded that AI offers little to ‘slow’ journalists due to the significant limitations in enhancing long-form reporting. At most, it may enable them to streamline repetitive and non-creative work, thereby allowing the depth required in slow journalism, at least in its current state of development.

Through long-form, creative, high-quality stories, slow journalism seeks to counteract the effects of speed and immediacy in news production and consumption primarily driven by technological advancements. The advantages of artificial intelligence (AI) in journalism include generating and enhancing content, reducing workloads, and consequently giving journalists more time for non-routine and creative tasks. This raises the question of where AI fits into slow journalism. Twenty-one semi-structured interviews were conducted with practitioners of slow journalism in Spain to explore their use, attitudes, and perceptions of AI in their work. The findings indicate that the interviewees make rudimentary use of AI tools, and their attitudes range from a slight lack of interest to a willingness to learn more about them, alongside concerns regarding ethical boundaries and the potential for job losses. They assert that they have a moral and human responsibility when producing stories that AI cannot enhance in terms of quality, creativity, and emotional depth. It can be concluded that AI offers little to 'slow' journalists due to the significant limitations in enhancing long-form reporting. At most, it may enable them to streamline repetitive and non-creative work, thereby allowing the depth required in slow journalism, at least in its current state of development. [ABSTRACT FROM AUTHOR]

This study explores the significant evolution of reportage within comics journalism, focusing on Italian comics reportages and how they intertwine with autobiography. The paper maps Italian comics reportages from 2007 until 2022 and analyses how reporters use their own experiences to narrate others' lives, focusing on four notable works: Quaderni Ucraini by Igort (2010), Kobane Calling by Zerocalcare (2016), Libia by Francesca Mannocchi and Gianluca Costantini (2019), and Un'altra via per la Cambogia by Takoua Ben Mohamed (2020). This analysis includes comparisons with international figures like Joe Sacco, Guy Delisle, and Sarah Glidden. The study concludes by identifying two trends found in the practices documented in the texts of the corpus, which appear to derive from Sacco's model, showing a blend of journalist-artist collaborations and unique author-driven narratives that merge reportage with travel writing. [ABSTRACT FROM AUTHOR]

This study seeks to evaluate the current status of journalism and digital slow journalism and identify its future challenges. A Delphi method has been used, with international experts responding to a qualitative questionnaire. This methodological technique is used to analyze experts' perceptions regarding one subject of study and detect future tendencies. In this particular case, an iterative process was conducted in two waves, with 28 professionals and academics from different continents (North America, South America, Europe and Australia), to stimulate a critical debate about digital slow journalism. The most prominent result of the study is that slow journalism is understood as more critical, contrasted and contextualized than fast journalism. The participants of the study believe there is a need for the truthful and quality information offered by slow journalism and narrative journalistic genres. Additionally, the findings indicate that the future of slow journalism involves the incorporation of new multimedia content and formats into its practice. This is particularly important if slow journalism is to be adapted to digital consumption demands. In this direction, future audience investigations will be key to offer readers better experiences and narrative styles. [ABSTRACT FROM AUTHOR]

The article introduces the Digital Story Model. The model is made with the ambition to improve and enrich digital stories done by journalism students, professional journalists and other kinds of digital storytellers . In the study we adopt an action-based research approach and test the model in an international classroom setting with 85 journalism students representing 35 countries. The findings of students' experiences with applying the model point to a number of strengths and shortcomings. Strengths include the model as a structuring and planning tool, as a way to benefit creativity, as a shared language in an international group and as an assistance in considering the potential story modalities. Shortcomings include the model preventing creativity and creating standardized stories, the model being mostly beneficial for inexperienced reporters and being too linear. The study concludes that there is a significant usefulness of the model when it comes to enriching digital storytelling but also a need to revise the model further and to alter the way it is presented in the classroom.

As news podcasts increase in number and popularity, conventions are emerging for how this genre of audio journalism constructs compelling storytelling that takes advantage of the specifics of the medium. This qualitative study examines 11 shortlisted and award-winning journalism podcasts in the 2019 Australian and British Podcast Awards through a narrative journalism framework, with a focus on the use of emotions and techniques to build experiences of intimacy. The analysis is done through the lens of Hilmes soundwork concept to understand both the impact of audio on journalistic storytelling and podcasting as an emerging journalism genre. This study demonstrates that award-winning podcasts feature personalised journalism that is afforded by the intimacy of the audio form. In contrast to journalistic norms of objective, disembodied reporters, podcast journalism uses narrative elements forged around emotions and first-person reporting to build intimate relationships between the journalist and the listener. The study also supports Dowling and Miller's findings that self-reflexivity and transparency of the reporting process have become "staple ingredients" of podcasting. [ABSTRACT FROM AUTHOR]

COVID-19 showed the importance of trustworthy and accessible health information. News organisations increasingly introduced podcasting to keep their audiences informed. Podcasting's documented capacity for listener engagement makes it a pertinent medium to study another global public health threat – superbugs – through the lens of constructive journalism. Both constructive journalism and podcasting feature lived experiences of sources, in constructive journalism focused on empowering audiences to act. This practice-led research study is the first to explore how solutions-oriented journalism intersects with narrative podcasts. It demonstrates through the production of a podcast series about antimicrobial resistance (AMR), an affordance to tell complex and often scary health stories. It finds that podcasting can position individuals affected by AMR as sources of empowering information, rather than as victims. The study contributes new knowledge to constructive podcast journalism as an impactful approach in public health journalism, leveraging its potential to provide solutions to listeners and promote change. [ABSTRACT FROM AUTHOR]

In this paper, I investigate how narrative, and resistance are articulated in Banzeiro Òkòtó, Eliane Brum’s work about the Amazon, forest peoples and climate emergency. It analyzes, considering Brum’s journalistic project, aspects related to both the narrated events and the writing itself. The hypothesis is that, in the face of the extreme situation, Brum problematizes and subverts aspects of writing, a cultural instrument inherited from the colonizer, to experiment with inclusive ways of narrating. The results point to the use of a series of narrative resources, from reflexivity to genre dilution, which hybridizes the reportage and activates the criticism of oppressive forms of Western civilization. [ABSTRACT FROM AUTHOR]

The new changes in the journalistic field provided the expansion of the journalists' authorial productions from the productions in books, as was the case of the journalists Zuenir Ventura and Teresa Urban who made the events of 1968, in Brazil, a platform to reconcile, in the narrative, elements such as memory and testimony. In her books – she in an articulation between comics and collage; he in a report, with the flirtation of the chronicle on the border of the testimony – ended up producing two “live” documents that represent border journalism, in which information, history and literature form a set that defies the rigidity of journalistic language. We aim, therefore, to analyze the narrative of the books “1968 – O ano que não terminou” and “1968 ditadura abaixo” from two methodological operators, which are memory and testimony. The books allow approximations between operators, showing how it is possible to combine experience, history and reports in a borderline perspective of the language that addresses narrative journalism. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 IC: Revista Científica de Información y Comunicación is the property of Universidad de Sevilla, Departamento de Periodismo 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 IC: Revista Científica de Información y Comunicación is the property of Universidad de Sevilla, Departamento de Periodismo 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 IC: Revista Científica de Información y Comunicación is the property of Universidad de Sevilla, Departamento de Periodismo 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 article herein presents the results of a research study focused on the evolution of reportage in the Spanish press over a span of four decades. This is the first longitudinal study covering such an extensive period (1982-2018) with regard to this narrative journalistic genre, through publications in La Vanguardia and ABC, the two oldest national newspapers in Spain. The aim of the study is to discover how the genre has evolved in recent decades, in terms of authorship, length, section in which it is published, headlines, visual and complementary elements, and the degree of hybridisation with other journalistic genres. Based on a quantitative and qualitative methodology, a sample was analysed using the constructed week sampling technique (N=346 issues). The results obtained show an increase in the amount and general length of the reports published from the year 2000 onward, as well as a tendency toward hybridisation with genres such as the crónica and the news report. However, there is no evidence of a commitment to narrative aspects. The increase in pagination has been fostered by the incorporation of visual and design elements, while the Society section continues to have the highest share of reportage pieces. Most of the reportage items analysed were bylined by one person, who were predominantly men, which suggests a gender gap in the authorship of prestigious journalistic genres. [ABSTRACT FROM AUTHOR]

The coronavirus pandemic dominated headlines at the same time that mainstream news organizations began adding more podcasts to their digital storytelling platforms. This popular form of audio journalism appears to be unrestricted by traditional journalism practices and constraints of deadlines and space. Few academic studies thus far have examined the characteristics of news podcasts (i.e., shows created by professional news organizations) and where they fit within the journalism landscape. Through a content analysis of 40 news podcast episodes related to the coronavirus pandemic, this study explores the extent to which narrative storytelling devices (voice, character development, scene setting, dialogue, dramatic tension), and other elements, such as opinion, were incorporated into the sample. Results show all but one episode utilized narrative storytelling elements, but the degree of editing and production varied widely. Results also demonstrate an overall shift away from journalistic norms of objectivity and toward interpretive reporting in this emerging format. Reporters and hosts often appear as both characters and experts in the episodes, and narrative elements serve to emphasize storytelling over content. [ABSTRACT FROM AUTHOR]

ABSTRACT – In this paper, we study representations of catastrophe victims in two contemporary journalistic narratives in Brazil: Todo dia a mesma noite by Daniela Arbex and Tragédia em Mariana by Cristina Serra. We first study the meaning and uses of the word victim to describe the types of victims in the narratives. Our analysis of both narratives focuses on the victims. We aim to understand how the storytelling in each narrative develops the victims’ stories. The results of the analysis point to different narrative projects and, as a result, to different ethical positions regarding the representation of victims. Arbex’s work focuses on trauma as an emotional nucleus which all characters (and possibly the reader) suffer from. Investigating the catastrophe is the main focus in Serra’s work, with the stories of those who died told through the memory of those who survive them, who seek justice, and who look to rebuild their lives. RESUMO – Neste trabalho, investigamos representações de vítimas de catástrofes em duas narrativas jornalísticas brasileiras contemporâneas: Todo dia a mesma noite, de Daniela Arbex, e Tragédia em Mariana, de Cristina Serra. Recuperamos, inicialmente, o significado e usos da palavra vítima para uma descrição dos tipos presentes nas narrativas. Analisamos, a seguir, as obras com ênfase na categoria da vítima, personagem que constitui a face humana do acontecimento. Objetivamos compreender como, em cada narrativa, as vidas afetadas são colocadas em enredo. Os resultados da análise apontam para projetos narrativos distintos e, por seguinte, de posições éticas também distintas acerca da representação das vítimas. A obra de Arbex reitera o trauma como núcleo dramático, que fixa as personagens (e possivelmente o leitor) no sofrimento; a de Serra atua investigativamente sobre a catástrofe, com a recuperação das histórias dos que morreram por meio da memória dos sobreviventes, que, em movimento, buscam justiça e reconstruir caminhos. RESUMEN – En este trabajo investigamos representaciones de víctimas de catástrofes en dos narrativas periodísticas brasileñas contemporáneas: Todo dia a mesma noite, de Daniela Arbex, y Tragédia em Mariana, de Cristina Serra. Inicialmente, recuperamos el significado y usos de la palabra víctima para una descripción de tipos existentes en las narrativas. Analizamos las narrativas con énfasis en la categoría víctima, personaje que constituyó el rostro humano de los reportajes. Pretendemos entender cómo, en cada narrativa, se enredan las vidas afectadas. Los resultados del análisis muestran diferentes proyectos narrativos y distintas posturas éticas acerca las representaciones de las víctimas. La obra de Arbex reitera el trauma como núcleo dramático, que fija los personajes (y posiblemente el lector) in el sufrimiento; en Serra, se avanza en la investigación de la catástrofe, con el rescate de las historias de los que murieron por medio del recuerdo de los supervivientes, que buscan justicia y rehacer sus vidas.

Traditionally, academics have played roles within the media limited as experts, collaborators or qualified sources. With the development of new communication platforms and the greater multidisciplinary conception of media teams, the presence of academics in the production and dissemination of journalistic content has gradually become normalized. In this article we approach from several case studies the possibilities, challenges and productive dynamics that reflect several representative projects of collaboration between journalism and academia. The results consolidate the idea that academics help to increase the credibility of the media by producing verified and in-depth content in a period when citizens' distrust of journalism is growing. [ABSTRACT FROM AUTHOR]

This article seeks to define, historicize, and critique the phenomenon of trend journalism within American journalism. I position trend journalism as an outgrowth of journalistic movements that, since the mid-twentieth century, have sought to elevate the role of storytelling and thematic interpretation in journalistic practice. In addition to historically and theoretically contextualizing trend journalism, the article examines critiques of trend journalism and analyzes coverage of metrosexuality in the 2000s as an exemplar of the generic features and shortcomings of trend journalism. In sum, this article argues that trend journalism showcases the power as well as limits of trends as a prism through which journalists understand and explain the world to their readership. [ABSTRACT FROM AUTHOR]

The journalistic profile is one of the great genres of the New Journalism, and generally speaking, of Anglo-Saxon journalism as well. In the last three decades, the profile has experienced tremendous growth within narrative journalism in the Spanish language, and one of its contributors has been Leila Guerriero. The objective of this article is to present the literary resources that Guerriero uses in her profiles. To this end, we have carried out a content analysis of her profiles based on the categories established by Gérard Genette, as well as the literary resource analysis model of Professor Domínguez Caparrós. The results of our study have allowed us to demonstrate that Guerriero´s profiles are linked to the New Journalism of the USA, while at the same time they provide a distinct, personal vision of such journalism, in addition to an original way of writing narrative journalism that brings it closer to the domain of literature

In order to expose and problematize some profiles obtained and published in books by two successful journalists, Eliane Brum and Fred Melo Paiva, this work presents, from the methodological procedure of content and narrative analysis, the way in which narratives journalistic are configured, based on the relational aspect between interviewer and interviewee, also identifying the testimonial character of journalism and the characters portrayed in this context. Understanding this process as part of narrative journalism, which breaks with the technicality still prevailing in some productions, as analyzes show that there is a diversity of characters and approaches, which evidence witness journalism through the characters / sources, the newspapers and the shared text itself. [ABSTRACT FROM AUTHOR]

Thie main objective of this paper is the conceptual study and characterization of slow journalism from an academic and professional perspective. As a methodological process, a total of 76 files have been analyzed, of which 58 correspond to publications of authors from the academic world and 18 to journalism professionals. Thie publications come from the academic world on information and journalistic quality, on digital journalism and narrative journalism, as emerging journalistic routines with potential and creative dynamics in the media sector. Thie other part of the analysis corresponds to 18 professional journalism experts. Among the most outstanding results is the preeminence of the academic world when it comes to studying the phenomenon, given that among those who practice journalism there is less production of works in this regard compared to those coming from the university environment. Also in academia there is a greater profusion of denominations to refer to the phenomenon in Spanish, although both in academia and in the journalistic profession itself the most commonly used term is the Anglo-Saxon term slow journalism. [ABSTRACT FROM AUTHOR]

Copyright of Correspondencias & Analisis is the property of Universidad de San Martin de Porres 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 Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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 Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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.)

While Paul Ricoeur's Time and Narrative (1990) was only concerned with fictional and historical narratives, its influence on narrative theory has been much broader. Ricoeur's reflections expanded into the field of journalism, among other areas, notably through the notion of media narrative (or récit médiatique) as defined by Marc Lits (1997a). Following Lits, Ricoeur's legacy -- and, more specifically, the distinction it inspired between immersive and informative narratives (Baroni 2018) -- has been used to shed light on a specific kind of journalism often referred to as narrative journalism, that is, journalism that uses the writing techniques of fiction to tell news stories. This article further examines the dialectic between immersion and information in narrative journalism by exploring both journalists' goals when writing their texts and receivers' experiences when reading them. First, interviews with journalists show that they are largely aware of this dialectic and purposefully use an immersive form to help readers better understand information. Then, an exploratory study with readers reveals that they claim to look mostly for information yet seem to favor immersive narratives. [ABSTRACT FROM AUTHOR]