Behavioral journalism is a term used to describe a theory-based health communication messaging strategy that is based on conveying “role model stories” about real people and how they achieve healthy behavior changes. The aim is to stimulate imitation of these models by audiences of their peers. Theoretical foundations for the strategy itself are in Albert Bandura’s social cognitive theory and Everett Rogers’s model of diffusion of innovations, but it can be used flexibly to convey various kinds of theory-driven message content. Behavioral journalism emerged as an explicit health communication technique in the late 1970s and was developed as a distinct alternative to the social marketing approach and its focus on centrally generated messages devised by experts. It has been used subsequently to promote smoking cessation, improvements in nutrition and physical activity, avoidance of sexually transmitted diseases and unplanned pregnancy, reduced intergroup hostility, advocacy for healthy policy and environmental changes, and many other diverse health promotion objectives. Formats used for behavioral journalism include reality television programs, broadcast and print news media, printed newsletters for special audiences, documentary film and video, digital and mobile communication, and new social media. Behavioral journalism is intended for use in concert with community organization and actions to prompt and reinforce the imitation of role models and to facilitate and enable behavior change, and its use in that context has yielded many reports of significant impact on behavior. With citations of use growing steadily in the past two decades, behavioral journalism has proven to be readily adaptable to new and emerging communication technologies.
Amy E. Chadwick
Climate change, which includes global warming, is a serious and pervasive challenge for local and global communities. Communication theorists, researchers, and practitioners are well positioned to describe, predict, and affect how we communicate about climate change. Our theories, research methods, and practices have many potential roles in reducing climate change and its effects. Climate change communication is a growing field that examines a range of factors that affect and are affected by how we communicate about climate change. Climate change communication covers a broad range of philosophical and research traditions, including humanistic-rhetorical analyses, interpretive qualitative studies, and social-scientific quantitative surveys and experiments. Climate change communication examines a range of factors that affect and are affected by how we communicate about climate change. Much of the research in climate change communication focuses on public understanding of climate change, factors that affect public understanding, media coverage and framing, media effects, and risk perceptions. Less prevalent, growing areas of research include civic engagement and public participation, organizational communication, and persuasive strategies to affect attitudes, beliefs, and behaviors related to the climate. In all of these areas, most of the research on climate change communication has been conducted in the United States, United Kingdom, Australia, Canada, and Western European countries. There is a need to expand the climate change communication research into other regions, particularly developing countries. In addition, climate change communication has natural links to environmental and health communication; therefore, communication scholars should also examine research from these areas to develop insights into climate change communication.
Rebekah H. Nagler and Susan M. LoRusso
Clinicians, medical and public health researchers, and communication scholars alike have long been concerned about the effects of conflicting health messages in the broader public information environment. Not only have these messages been referred to in many ways (e.g., “competing,” “contradictory,” “inconsistent,” “mixed,” “divergent”), but they have been conceptualized in distinct ways as well—perhaps because they have been the subject of study across health, science, and political communication domains. Regardless of specific terminology and definitions, the concerns have been consistent throughout: conflicting health messages exist in the broader environment, they are noticed by the public, and they impact public understanding and health behavior. Yet until recently, the scientific evidence base to substantiate these concerns has been remarkably thin. In the past few years, there has been a growing body of rigorous empirical research documenting the prevalence of conflicting health messages in the media environment. There is also increasing evidence that people perceive conflict and controversy about several health topics, including nutrition and cancer screening. Although historically most studies have stopped short of systematically capturing exposure to conflicting health messages—which is the all-important first step in demonstrating effects—there have been some recent efforts here. Taken together, a set of qualitative (focus group) and quantitative (observational survey and experimental) studies, guided by diverse theoretical frameworks, now provides compelling evidence that there are adverse outcomes of exposure to conflicting health information. The origins of such information vary, but understanding epidemiology and the nature of scientific discovery—as well as how science and health news is produced and understood by the public—helps to shed light on how conflicting health messages arise. As evidence of the effects of conflicting messages accumulates, it is important to consider not just the implications of such messages for health and risk communication, but also whether and how we can intervene to address the effects of exposure to message conflict.
Laura Loeb and Steven E. Clayman
The news interview is a prominent interactional arena for broadcast news production, and its investigation provides a window into journalistic norms, press-state relations, and sociopolitical culture. It is a relatively formal type of interaction, with a restrictive turn-taking system normatively organized around questions and answers exchanged for the benefit of an audience. Questions to politicians are sensitive to the journalistic norms of neutralism and adversarialness. The neutralism norm is relatively robust, implemented by interviewers adhering to the activity of questioning, and avoiding declarative assertions except as prefaces to a question or as attributed to a third party. The adversarialism norm is more contextually variable, implemented through agenda setting, presupposition, and response preference, each of which can be enhanced through question prefaces. Adversarial questioning has increased significantly in the United States over time, and in some other national contexts. Adversarial questioning creates an incentive for resistant responses from politicians, which are managed with overt forms of damage control and covert forms of concealment. News interviews with nonpartisan experts and ordinary people are generally less adversarial and more cooperative. Various hybrid interview genres have emerged in recent years, which incorporate practices from other forms of broadcast talk (e.g., celebrity talk shows, confrontational debates) within a more loosely organized interview framework. These hybrid forms have become increasingly prominent in contemporary political campaigns and current affairs discussions.
Copyright is a bundle of rights granted to the creators of literary, artistic, and scientific works such as books, music, films, or computer programs. Copyright, as one of the most controversial areas of communication law and policy, has always been the subject of political contention; however, debates surrounding the subject have reached new levels of controversy since the 1990s as a result of the new formats of creative works made possible by digital media, and as a result of the new practices of authorship, creativity, consumption, collaboration, and sharing that have arisen in light of networking and social media. Technological change has not been the only driving force of change; social and political change, including changing concepts of authorship, the recognition of the rights of women and indigenous peoples, and the changing structures of international relations and international civil society, have also been reflected in copyright law. Copyright policymaking has become an increasingly internationalized affair. Forum-shifting has contributed to the proliferation of regional and international copyright policymaking forums under the rubric of stand-alone intellectual property institutions such as the World Intellectual Property Organization (WIPO), as well as under institutions dedicated more broadly to international trade negotiations.
Communication scholars and others have contributed extensively to the field of copyright and intellectual property law. Communication scholars have made significant contributions in examining the cultural significance, political economy, history, and rhetoric of copyright, drawing on diverse fields that include cultural studies and critical political economy. Communications scholars’ influence in the field of copyright scholarship has been significant.
Kristina Riegert, Anna Roosvall, and Andreas Widholm
Cultural journalism is a subfield of journalism that encompasses what is known as arts journalism. While arts journalism is characterized by reviews, critique, news, and essays about the arts and popular culture, cultural journalism has a broader take on culture, including lifestyle issues, societal debate, and reflective ethical discussion by cultural personas or expressed in a literary style. Both arts and cultural journalists see their work as “journalism with a difference,” evoking different perspectives and worldviews from those dominating mainstream news reporting. At the same time, cultural journalism shares with journalism issues like boundary work, genre blurring, digitalization, globalization, professionalization, and “the crisis of journalism.” There are three main ways cultural journalism has been studied: one research strand defines cultural journalism as material produced by the cultural desks or material that is explicitly labelled cultural journalism; another defines it as journalism about culture, regardless of how it is labelled or produced; and a third strand includes only arts journalism, examining journalistic content on the fine arts and popular culture. Studies from all of these approaches are included in this article due to the effort to include a wide variety of countries at different time periods and an effort to track joint defining features and developments in cultural journalism. The emphasis is on the Nordic context, where the term “cultural journalism” is well established and where research is relatively comprehensive. The research is divided into three themes: the cultural public sphere and the contribution to democracy; cultural journalism’s professionalism and the challenges of digitalization; and transnational and global aspects of cultural journalism, including tendencies such as cultural homogenization and hybridization.
International research on cultural journalism as a subfield has been complicated by its varying designations (arts journalism, feuilleton, journalism about culture, entertainment), and its numerous aesthetic forms, disciplines, or types of culture, all of which are changing over time. Despite these issues, research points in the same direction: the amount of cultural journalism is increasing, and the boundaries against other types of journalism are becoming more porous. There is also a decline in editorial autonomy. In common with journalism, there is an increase in generalists working with culture and greater central managerial control in new multiplatform media organizations. The research points to an increase in a more transnationally oriented cultural journalism, mainly through a larger share of cultural news and popular culture—while its core, review and critique, has changed in character, or arguably lost ground. The increasing “newsification” of cultural journalism should prompt future research on whether the “watchdog” role vis-à-vis the cultural industries is growing. New forms of art and culture are beginning to get coverage, but also, in some cases, the intermixing of “lifestyle” with cultural journalism. The commercialization and celebrity aspects of this are clear, but new digital platforms have also enabled new voices and different formats of cultural journalism and a wider dissemination and intensity in cultural debates, all of which emphasize its democratic potential. New research on this subject appears to focus on the longitudinal changes in cultural journalism, the implications of digitalization and globalization, and cultural journalism in broadcasting.
Diasporic news refers to information, entertainment, and education news that is politically, economically, and socioculturally relevant to diaspora audiences. This news content is produced by diasporic news media established for and by diasporic groups. According to scholars, diasporic media plays two broad roles: an orientation role relating to information and advice to help diasporic groups adjust to the host country and a connective role relating to information about events in the homeland.
The affordability of new media technology spurred the growth of diasporic media making countless platforms available to diaspora groups to disseminate their views via the legacy media of print, radio, and television; and via the new media of Internet and social media. However, their business model is still preedominantly independent and small scale, and their printed edition is circulated mostly through alternative distribution outlets such as grocery shops, churches, restaurants, and airports.
Their practitioners subscribe broadly to the tenets of journalistic professionalism, but these are discursively reinterpreted, appropriated and contested in line with the cultural sensibilities of diaspora audiences. On their part, the diaspora audiences use them as a platform for political activism; to connect with their group members; to watch movies and listen to music. But in recent times, the home governments are using them to tap into the diaspora resources including remittances and skills transfer.
Courtney Barclay and Kearston Wesner
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Communication. Please check back later for the full article.
Drones armed with cameras have allowed journalists to capture images from new perspectives and in places previously unreachable. Footage of volcanic eruptions, war-torn villages, and nuclear disaster areas have all been made possible with drone technology. However, this same technology presents risks to personal privacy.
Since before Warren and Brandeis penned the oft cited Right to Privacy, newsgatherers have tested the boundaries of society’s notion of privacy. The development of new technologies at the time, such as the snap camera, made photography a faster, more efficient endeavor. Warren and Brandeis recognized that the increased photographic recording of society threatened individual privacy on a scale never before imagined. More than a century later, the use of new technology—drones outfitted with cameras and other imaging devices—has once again ignited debate over how to protect an individual’s privacy while ensuring journalists’ ability to gather news.
The traditional remedy for intrusive journalism has been through tort law, which requires an individual to show that she or he had a reasonable expectation of privacy. By and large, these laws have favored journalists; however, that result is usually based on the fact that the newsgathering activity occurred in a public place rather than any recognition of the importance of newsgathering. State lawmakers have begun to address drone photography with a wide variety of approaches that would move away from this public place exception—from prohibiting photography over private property to prohibiting any photography without someone’s consent, even in a public place.
The press has recognized the cost to individual privacy incurred by use of technologies such as drone photography. Professional codes of ethics instruct journalists to minimize harm to the public, requiring an “overriding” public interest to invade someone’s privacy. The Professional Society of Drone Journalists’ Code of Ethics addresses the additional responsibilities inherent to drone technology. Under this code, journalists should record only public spaces and delete any images of individuals in a private space.
Drone technology represents only one of the latest developments in surveillance used for law enforcement, commercial enterprise, and journalism. However, its growth and the gaps in privacy tort law underscore the importance of strong codes of ethics that serve the interests of both newsgathering and individual privacy.
Fake news is not new, but the American presidential election in 2016 placed the phenomenon squarely onto the international agenda. Manipulation, disinformation, falseness, rumors, conspiracy theories—actions and behaviors that are frequently associated with the term—have existed as long as humans have communicated. Nevertheless, new communication technologies have allowed for new ways to produce, distribute, and consume fake news, which makes it harder to differentiate what information to trust. Fake news has typically been studied along four lines: Characterization, creation, circulation, and countering. How to characterize fake news has been a major concern in the research literature, as the definition of the term is disputed. By differentiating between intention and facticity, researchers have attempted to study different types of false information. Creation concerns the production of fake news, often produced with either a financial, political, or social motivation. The circulation of fake news refers to the different ways false information has been disseminated and amplified, often through communication technologies such as social media and search engines. Lastly, countering fake news addresses the multitude of approaches to detect and combat fake news on different levels, from legal, financial, and technical aspects to individuals’ media and information literacy and new fact-checking services.
Feature journalism has developed from being a marginal and subordinate supplement to (hard) news in newspapers to becoming a significant part of journalism on all platforms. It emerged as a key force driving the popularization and tabloidization of the press.
Feature journalism can be defined as a family of genres that share a common exigence, understood as a publicly recognized need to be entertained and connected with other people on a mainly emotional level by accounts of personal experiences that are related to contemporary events of perceived public interest. This exigence is articulated through three characteristics that have dominated feature journalism from the very beginning: It is intimate, in the sense that it portrays people and milieus in close detail and that it allows the journalist to be subjective and therefore intimate with his or her audience; it is literary in the sense that it is closely connected with the art of writing, narrativity, storytelling, and worlds of fiction; and it is adventurous, in the sense that it takes the audiences on journeys to meet people and places that are interesting.
Traditional and well-established genres of feature journalism include the human-interest story, feature reportage, and the profile, which all promote subjectivity and emotions as key ingredients in feature journalism in contrast to the norm of objectivity found in professional news journalism. Feature journalism therefore establishes a conflict of norms that has existed throughout the history of journalism.
Feature journalism has become an increasingly popular part of digital news outlets. Online newspapers have experimented with digital formats for feature journalism since the late 1990s, first with technology-driven multimedia feature journalism and later with story-driven long-form feature journalism. Since 2010, podcasts and online templates for long-form journalism have increased the popularity of digital feature journalism.