In this paper, we explore the ways in which we can employ arts-based research methods to unpack and represent the diversity and complexity of journalistic experiences and (self) conceptualisations. We address the need to reconsider the ways in which we theorise and research the field of journalism. We thereby aim to complement the current methodologies, theories, and prisms through which we consider our object of study to depict more comprehensively the diversity of practices in the field. To gather stories about journalism creatively (and ultimately more inclusively and richly), we propose and present the use of arts-based research methods in journalism studies. By employing visual and narrative artistic forms as a research tool, we make room for the senses, emotion and imagination on the part of the respondents, researchers and audiences of the output. We draw on a specific collaboration with artists and journalists that resulted in a research event in which 32 journalists were invited to collaboratively recreate the “richness and complexity” of journalistic practices.
Self-regulation in the Netherlands: Journalists opening up to a more demanding public. In: The Trust factor report on self-regulation 2015
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In the context of changing values, practices and working arrangements, the worlds of journalism and art converge. Evaluating these professions in conflux and beyond their (supposed) opposing ideologies and discourses, remains both controversial and complex. Through a critical hermeneutic analysis, this paper highlights key areas of tension regarding the confluence of journalism and arts. It is argued that journalism is and always has been inextricably interwoven with the arts, a shared existence not limited to Western democracies. The article proposes a continuum as a theoretical model for mapping and exploring the coexistence of artistic and journalistic approaches of news and news work. This “arts and journalism” continuum offers a potentially fruitful dimension of studying news work as a form of artistic practice in a variety of contexts. In conclusion, a consideration of “Artistic Journalism” is proposed as a way for the profession to articulate its creative foundation with its goal to pursue the truth, including the intrinsic and affective motivations of its practitioners.
Being objective as a journalist indicates a distance to your sources and maintaining the role of a neutral bystander. This principle echoes in journalism education; generally speaking, to call something objective is a compliment and to say something is subjective is a warning. This journalistic role perception faces criticism since the late twentieth century. There’s extensive scholarly research looking to bridge the gap between objectivism and subjectivism, but journalistic education still widely prioritizes a binary perception of these principles, putting a strong emphasis on objective reporting. This PD aims to integrate artistic practices into journalism education that advocate a more balanced approach of the assumed objective-subjective dichotomy. One such approach is live journalism, where the artistic method extends to productional outcome, usually in the form of a journalistic narrative brought before a live audience. Research shows that, whereas visitors still think such productions should be fact-based, the fact that journalists had (made) a personal connection to their subject was seen as essential to the credibility of their work. This presupposes that journalism in this context is not merely a profession, but rather a person carrying out a profession. This PD intends to not only accept a certain subjectivity, but to explore its potential in journalism education. It plays with the concept not as being or becoming personally opinionated as a journalist, but as subjecting the self as a reporter. Research shows that for journalists, such an active connection to a target audience and an attitude to want to hear more than an answer to a question leads to a more representative understanding of the position and predicaments of a social group. In this light, the objective and subjective do not present themselves as a T-junction where the journalist chooses either one or the other; they appear in mutuality.
