Parliamentary and media discourses are different. Whereas speaking in parliament is, at least on the surface, governed by procedural rules and deliberative traditions, media representations adhere to a narrative dramaturgy. A crisis situation affects the relation between these forms of discourse. When there is a perceived threat against the nation, often the media ‘rally around the flag’, purportedly displaying a greater acceptance of the arguments presented by leading politicians or the government. Similarly, crisis awareness limits the room for dissent in parliament, since there is a perceived need to close ranks in the face of an external threat. In this situation, turning to public opinion is not an option for those wanting to present alternative viewpoints. This article examines whether the concept ‘world opinion’ became an alternative outside ally for members of parliament (MPs) who wanted to position themselves in the debates on the Falklands War (1982).
Camera-equipped drones have emerged as an increasingly commonplace tool for media to acquire aerial imagery. Previous research has mainly focused on the innovative aspects and creative potential of the technology. This article argues that early optimistic projections reflected a novelty effect, typical of a culturally embedded idea that new and better technologies continuously replace older ones. Using a historical theory which distinguishes techno-optimistic innovation discourse from actual observations of technology in use, photojournalists were interviewed on the role of drones in news reporting. The results show that the practitioners historicise drones, relating them to previous aerial technologies, and they reflect on current and future uses of drones in journalism based on a notion of phases, where early hype gives way to subsequent drone fatigue. Drones are seen by many as a more convenient tool to do things that journalism has done before, but the convenience increases the use of aerial imagery. The results also show that, although photojournalists see a wide range of potential uses, there are also limitations, including the ideals of the invisible observer, safety concerns, and the perils of over-aesthetic imagery. The post-hype uses of drone photography were summarized in two categories: (a) revealing the site, establishing ‘this happened here’ and (b) presenting scope, or showing how vast or large something is.
In the high-choice media landscape, satire has the potential to help news and politics break through information apathy barriers and reinvigorate democratic debate. While scholarly attention to the genre of satire has increased, interest in satirists themselves has been sparse. Using a theory of non-deliberative forms of public discourse and the idea of role conceptions, this study presents an analysis of interviews with Swedish satirists working in broadcasting media. Results showed that being Eye-openers and Questioners -meaning providing alternative perspectives and problematizing societal norms -were the primary contributions of satire, according to satirists. There were differing roles to take on when it came to social bonding and solidarity: Unifier, where the aim was to be bridge-building in a polarized debate, and Divider, where the main focus was to inspire critical thinking and foster independence from consensus. The role elements Reporter, Explainer and Solver were also introduced and discussed.
In the last decade, the development of small, remotely operated multicopters with cameras, so-called drones, has made aerial photography easily available. Consumers and institutions now use drones in a variety of ways, both for personal entertainment and professionally. The application of drones in media production and journalism is of particular interest, as it provides insight into the complex interplay between technology, the economic and legal constraints of the media market, professional cultures and audience preferences. The thematic issue <em>Journalism from Above: Drones, the Media, and the Transformation of Journalistic Practice</em> presents new research concerning the role of drones in journalism and media production. The issue brings together scholars representing a variety of approaches and perspectives. A broad selection of empirical cases from Finland, Spain, Sweden, the UK and the US form the basis of an exploration of the changing relations between the media, technology and society. The articles address topics such as: Adaption of drone technology in the newsrooms; audience preferences and reactions in a changing media landscape; the relation between journalists and public authorities who use drones; and attitudes from journalistic practitioners as well as historical and future perspectives.
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