Pub Date : 2020-11-11DOI: 10.1080/16522354.2020.1832746
Isabelle Krebs, Philipp Bachmann, Gabriele Siegert, Rafael Schwab, Raphael Willi
ABSTRACT News media are important for society, because they provide information on relevant topics based on journalistic norms, such as truthfulness and impartiality. However, traditional news brands have found new competition in non-journalistic digital media. Google and YouTube have disrupted the business model of journalism by creating platforms on which everything and everyone competes for consumers’ attention. Despite the recognised importance of this topic, empirical studies about the competitive situation of (journalistic) news media brands in the limitless digital media market are scarce. The aim of this study is to investigate the extent to which non-journalistic competitors replace traditional news media brands in relation to relevant topics. A programmed web scraping software automatically gathered Google and YouTube search results of trending topics (e.g. Industry 4.0, Blockchain, or CRISPR). Afterwards, a manual content analysis was conducted to classify the source of each search result (e.g. news media brand, corporate publisher, non-governmental organisation) (N = 556 Google results and 792 YouTube results). The findings show that news media brands still dominate on Google but placed a distant third on YouTube, behind amateurs and corporate publishing. News media brands should reconsider their strategies for YouTube with regard to presenting their content.
{"title":"Non-journalistic competitors of news media brands on Google and YouTube: From solid competition to a liquid media market","authors":"Isabelle Krebs, Philipp Bachmann, Gabriele Siegert, Rafael Schwab, Raphael Willi","doi":"10.1080/16522354.2020.1832746","DOIUrl":"https://doi.org/10.1080/16522354.2020.1832746","url":null,"abstract":"ABSTRACT News media are important for society, because they provide information on relevant topics based on journalistic norms, such as truthfulness and impartiality. However, traditional news brands have found new competition in non-journalistic digital media. Google and YouTube have disrupted the business model of journalism by creating platforms on which everything and everyone competes for consumers’ attention. Despite the recognised importance of this topic, empirical studies about the competitive situation of (journalistic) news media brands in the limitless digital media market are scarce. The aim of this study is to investigate the extent to which non-journalistic competitors replace traditional news media brands in relation to relevant topics. A programmed web scraping software automatically gathered Google and YouTube search results of trending topics (e.g. Industry 4.0, Blockchain, or CRISPR). Afterwards, a manual content analysis was conducted to classify the source of each search result (e.g. news media brand, corporate publisher, non-governmental organisation) (N = 556 Google results and 792 YouTube results). The findings show that news media brands still dominate on Google but placed a distant third on YouTube, behind amateurs and corporate publishing. News media brands should reconsider their strategies for YouTube with regard to presenting their content.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"27 - 44"},"PeriodicalIF":1.3,"publicationDate":"2020-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1832746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47352922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-05DOI: 10.1080/16522354.2020.1839172
Christian Zabel, Verena Telkmann
ABSTRACT Media companies often fail to successfully adopt emergent technology-driven media innovations. In order to analyse the pitfalls of implementation and to identify media-organisation-specific weaknesses, eleven cases from the media and manufacturing industries in Germany that adopted XR (which encompasses virtual, mixed and augmented reality technology) were compared. Several organisational drivers were especially important for successful adoption such as top management support, existence of an innovation champion, fit with the company/innovation strategy, cooperation with internal IT and long-term planning for the build-up of sustainable expertise within the companies. Whereas the media firms profited in some regards from their editorial background (i.e., high motivation of the projects’ innovation champions), the lack of strategic planning and limited internal IT resources were found to hamper a successful adoption.
{"title":"The adoption of emerging technology-driven media innovations. A comparative study of the introduction of virtual and augmented reality in the media and manufacturing industries","authors":"Christian Zabel, Verena Telkmann","doi":"10.1080/16522354.2020.1839172","DOIUrl":"https://doi.org/10.1080/16522354.2020.1839172","url":null,"abstract":"ABSTRACT Media companies often fail to successfully adopt emergent technology-driven media innovations. In order to analyse the pitfalls of implementation and to identify media-organisation-specific weaknesses, eleven cases from the media and manufacturing industries in Germany that adopted XR (which encompasses virtual, mixed and augmented reality technology) were compared. Several organisational drivers were especially important for successful adoption such as top management support, existence of an innovation champion, fit with the company/innovation strategy, cooperation with internal IT and long-term planning for the build-up of sustainable expertise within the companies. Whereas the media firms profited in some regards from their editorial background (i.e., high motivation of the projects’ innovation champions), the lack of strategic planning and limited internal IT resources were found to hamper a successful adoption.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"235 - 266"},"PeriodicalIF":1.3,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1839172","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45521314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-04DOI: 10.1080/16522354.2020.1840711
Jingyi Sun
ABSTRACT This paper takes a longitudinal perspective to explore China’s media organisations’ adoption of the WeChat public platform. Drawing from theories of organisation ecology and strategic exploitation/exploration, this paper identifies three strategies that media outlets adopted: borrowing other media outlets’ content to form news flow networks, exploiting existing news production routines and exploring new forms of content creation by incorporating social media sources. Stochastic actor-oriented models (SAOM) were built to understand how thirty-five media outlets built news flow networks on WeChat and how such networks coevolved with exploitation and exploration. The results showed that media outlets could mobilise audiences and exhibit identity through news flow networks; although exploitation reduced organisations’ dependence on the community, exploration was not found to make media outlets more popular.
{"title":"China’s media organisations’ adoption of the WeChat public platform: news flow network, exploitation and exploration","authors":"Jingyi Sun","doi":"10.1080/16522354.2020.1840711","DOIUrl":"https://doi.org/10.1080/16522354.2020.1840711","url":null,"abstract":"ABSTRACT This paper takes a longitudinal perspective to explore China’s media organisations’ adoption of the WeChat public platform. Drawing from theories of organisation ecology and strategic exploitation/exploration, this paper identifies three strategies that media outlets adopted: borrowing other media outlets’ content to form news flow networks, exploiting existing news production routines and exploring new forms of content creation by incorporating social media sources. Stochastic actor-oriented models (SAOM) were built to understand how thirty-five media outlets built news flow networks on WeChat and how such networks coevolved with exploitation and exploration. The results showed that media outlets could mobilise audiences and exhibit identity through news flow networks; although exploitation reduced organisations’ dependence on the community, exploration was not found to make media outlets more popular.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"267 - 284"},"PeriodicalIF":1.3,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1840711","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44409855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-28DOI: 10.1080/16522354.2020.1832745
Jonas Brühl, J. Eigler
ABSTRACT Movie exhibitors are faced with a challenging environment due to a trend of declining numbers of moviegoers in Germany. In the short term, they must therefore focus on the maximisation of concession profits with efficient personnel deployment to compensate for the declining box office gross. This paper attempts to create a more efficient personnel deployment plan in comparison to the status quo and to improve the decision-making basis of movie exhibitors regarding their personnel deployment. The data set on which this paper is based comprises selected figures of a German multiplex cinema over a period of 15 months. This includes the daily moviegoers and the corresponding work hours of the personnel. Based on these figures, the productivity per work hour is analysed to determine how the personnel deployment is calculated depending on the forecasted number of moviegoers. An analysis of variance is prepared to establish how profits at the concession can be maximised with an efficient personnel deployment. This paper presents a profit-maximising deployment of checkout and concession personnel depending on the forecasted number of moviegoers, which provides the possibility of reacting to a deviating number of moviegoers at short notice.
{"title":"Optimisation approaches and challenges of personnel deployment for movie exhibitors","authors":"Jonas Brühl, J. Eigler","doi":"10.1080/16522354.2020.1832745","DOIUrl":"https://doi.org/10.1080/16522354.2020.1832745","url":null,"abstract":"ABSTRACT Movie exhibitors are faced with a challenging environment due to a trend of declining numbers of moviegoers in Germany. In the short term, they must therefore focus on the maximisation of concession profits with efficient personnel deployment to compensate for the declining box office gross. This paper attempts to create a more efficient personnel deployment plan in comparison to the status quo and to improve the decision-making basis of movie exhibitors regarding their personnel deployment. The data set on which this paper is based comprises selected figures of a German multiplex cinema over a period of 15 months. This includes the daily moviegoers and the corresponding work hours of the personnel. Based on these figures, the productivity per work hour is analysed to determine how the personnel deployment is calculated depending on the forecasted number of moviegoers. An analysis of variance is prepared to establish how profits at the concession can be maximised with an efficient personnel deployment. This paper presents a profit-maximising deployment of checkout and concession personnel depending on the forecasted number of moviegoers, which provides the possibility of reacting to a deviating number of moviegoers at short notice.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"59 - 78"},"PeriodicalIF":1.3,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1832745","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47674799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-06DOI: 10.1080/16522354.2020.1800310
Ted Hayduk
ABSTRACT Competitive videogames (esports) are an exciting new media format, affording experiences that are dynamic, ephemeral, immersive, social, mobile, and escapist. Instantaneous digital distribution and global reach also make this media format especially lucrative for industry stakeholders. Despite increasing attention on esports and the importance of entrepreneurship to esports, research has only begun to investigate how entrepreneurs successfully enter this new and tumultuous industry segment. The purpose of this article is to (1) assess the market dynamics at work in this sector and (2) determine some of this unique market’s most important determinants of success. Using a sample of N = 16,326 esport projects between 2009 and 2017, the analysis suggests that crowdfunding an esport project is more difficult than crowdfunding projects in other industries. Then, a logistic regression identifies several success determinants of esport projects. Overall, both stages of the investigation reinforce that a the surplus of eport projects on crowdfunding platforms reflective of significant lost opportunity costs stemming from founder-funder information asymmetries.
{"title":"Kickstart my market: exploring an alternative method of raising capital in a new media sector","authors":"Ted Hayduk","doi":"10.1080/16522354.2020.1800310","DOIUrl":"https://doi.org/10.1080/16522354.2020.1800310","url":null,"abstract":"ABSTRACT Competitive videogames (esports) are an exciting new media format, affording experiences that are dynamic, ephemeral, immersive, social, mobile, and escapist. Instantaneous digital distribution and global reach also make this media format especially lucrative for industry stakeholders. Despite increasing attention on esports and the importance of entrepreneurship to esports, research has only begun to investigate how entrepreneurs successfully enter this new and tumultuous industry segment. The purpose of this article is to (1) assess the market dynamics at work in this sector and (2) determine some of this unique market’s most important determinants of success. Using a sample of N = 16,326 esport projects between 2009 and 2017, the analysis suggests that crowdfunding an esport project is more difficult than crowdfunding projects in other industries. Then, a logistic regression identifies several success determinants of esport projects. Overall, both stages of the investigation reinforce that a the surplus of eport projects on crowdfunding platforms reflective of significant lost opportunity costs stemming from founder-funder information asymmetries.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"155 - 178"},"PeriodicalIF":1.3,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1800310","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48448860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-27DOI: 10.1080/16522354.2020.1797270
Shinwon Noh
ABSTRACT Effective portfolio management is vital for organisations to achieve competitive advantage. This study investigates how online subscription video on demand (SVOD) companies manage their genre portfolios. Using longitudinal data of all original content produced by the two largest U.S. SVOD platforms and all primetime shows provided by the U.S. Big Four broadcast networks over a seven-year period (2012–2019), this study demonstrates that the SVOD companies used dual strategies to maximise appeal to both subscribers and critics. Specifically, the SVOD companies differentiated from their own previous genre portfolios by offering more shows in the genres that had been less offered by themselves, while increasing shows in the same genres where their own shows and the broadcast network shows received positive recognition from television critics.
{"title":"Dual portfolio management strategies of online subscription video on demand (SVOD) companies: a genre perspective","authors":"Shinwon Noh","doi":"10.1080/16522354.2020.1797270","DOIUrl":"https://doi.org/10.1080/16522354.2020.1797270","url":null,"abstract":"ABSTRACT Effective portfolio management is vital for organisations to achieve competitive advantage. This study investigates how online subscription video on demand (SVOD) companies manage their genre portfolios. Using longitudinal data of all original content produced by the two largest U.S. SVOD platforms and all primetime shows provided by the U.S. Big Four broadcast networks over a seven-year period (2012–2019), this study demonstrates that the SVOD companies used dual strategies to maximise appeal to both subscribers and critics. Specifically, the SVOD companies differentiated from their own previous genre portfolios by offering more shows in the genres that had been less offered by themselves, while increasing shows in the same genres where their own shows and the broadcast network shows received positive recognition from television critics.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"132 - 153"},"PeriodicalIF":1.3,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1797270","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42279989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-25DOI: 10.1080/16522354.2020.1783130
Rang Wang, Sylvia M. Chan-Olmsted
ABSTRACT As content marketing becomes a viable approach to build brands and connect with consumers, this study assessed top brands’ content marketing strategy on branded YouTube channels via content analysis. Using a consumer engagement conceptual framework, the study examined brands’ strategies addressing the interactivity, attention, emotion, and cognition aspects of engagement and explored the role of YouTube capabilities, financial resources, and product category in strategy differentiation. Results indicated that engagement through social media content marketing is highly contextual and platform dependent. YouTube capabilities, financial resources, and product category play an important role in strategy differentiation.
{"title":"Content marketing strategy of branded YouTube channels","authors":"Rang Wang, Sylvia M. Chan-Olmsted","doi":"10.1080/16522354.2020.1783130","DOIUrl":"https://doi.org/10.1080/16522354.2020.1783130","url":null,"abstract":"ABSTRACT As content marketing becomes a viable approach to build brands and connect with consumers, this study assessed top brands’ content marketing strategy on branded YouTube channels via content analysis. Using a consumer engagement conceptual framework, the study examined brands’ strategies addressing the interactivity, attention, emotion, and cognition aspects of engagement and explored the role of YouTube capabilities, financial resources, and product category in strategy differentiation. Results indicated that engagement through social media content marketing is highly contextual and platform dependent. YouTube capabilities, financial resources, and product category play an important role in strategy differentiation.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"17 1","pages":"294 - 316"},"PeriodicalIF":1.3,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1783130","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46463004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-17DOI: 10.1080/16522354.2020.1780067
Vanessa Rahe, Christopher Buschow, Daniela Schlütz
ABSTRACT Today, subscription-based video-on-demand (S-VoD) streaming services such as Netflix and Amazon Prime Video are relevant players within the video content value chain by number of consumers and sales volume. These services represent a rich research context to examine users’ brand perception of novel media products. This study investigates Germany’s most popular S-VoD services Netflix and Amazon Prime Video from a perspective of the Function-oriented Media Brand Model. The model is applied to both services in a quantitative online survey (N = 1267). Overall, the results indicate a more favourably media brand perception of Netflix compared to Amazon Prime Video. Findings are discussed with regard to media brand theory and implications for media companies and potentials for future media brand research are outlined.
{"title":"How users approach novel media products: brand perception of Netflix and Amazon Prime video as signposts within the German subscription-based video-on-demand market","authors":"Vanessa Rahe, Christopher Buschow, Daniela Schlütz","doi":"10.1080/16522354.2020.1780067","DOIUrl":"https://doi.org/10.1080/16522354.2020.1780067","url":null,"abstract":"ABSTRACT Today, subscription-based video-on-demand (S-VoD) streaming services such as Netflix and Amazon Prime Video are relevant players within the video content value chain by number of consumers and sales volume. These services represent a rich research context to examine users’ brand perception of novel media products. This study investigates Germany’s most popular S-VoD services Netflix and Amazon Prime Video from a perspective of the Function-oriented Media Brand Model. The model is applied to both services in a quantitative online survey (N = 1267). Overall, the results indicate a more favourably media brand perception of Netflix compared to Amazon Prime Video. Findings are discussed with regard to media brand theory and implications for media companies and potentials for future media brand research are outlined.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"45 - 58"},"PeriodicalIF":1.3,"publicationDate":"2020-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1780067","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41392203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-12DOI: 10.1080/16522354.2020.1765668
Ivana Kostovska, T. Raats, Karen Donders, P. Ballon
ABSTRACT Faced with competition from electronic communications, ICT and social media firms, and confronted with multi-sided platforms occupying numerous gatekeeping positions, media firms have to rely on others to create value. Competing means collaborating and supporting others to innovate and create joint value. Taking these changes into account, the use of “ecosystem”, in addition to allied concepts such as platform, became more prominent. Ecosystems allow actors to create value that none of them is able to do on their own. This article explains why the concept of media ecosystem can be useful in media management research and in practice and defines and operationalises the concept in a model that can be used for empirical research and in practice.
{"title":"Going beyond the hype: conceptualising “media ecosystem” for media management research","authors":"Ivana Kostovska, T. Raats, Karen Donders, P. Ballon","doi":"10.1080/16522354.2020.1765668","DOIUrl":"https://doi.org/10.1080/16522354.2020.1765668","url":null,"abstract":"ABSTRACT Faced with competition from electronic communications, ICT and social media firms, and confronted with multi-sided platforms occupying numerous gatekeeping positions, media firms have to rely on others to create value. Competing means collaborating and supporting others to innovate and create joint value. Taking these changes into account, the use of “ecosystem”, in addition to allied concepts such as platform, became more prominent. Ecosystems allow actors to create value that none of them is able to do on their own. This article explains why the concept of media ecosystem can be useful in media management research and in practice and defines and operationalises the concept in a model that can be used for empirical research and in practice.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"18 1","pages":"6 - 26"},"PeriodicalIF":1.3,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1765668","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47128033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-05DOI: 10.1080/16522354.2020.1768723
Allie Kosterich, Paul Ziek
ABSTRACT The advent and popularity of digital and social media have forever transformed the news media industry, specifically impacting the overall production and distribution of hard-copy newspapers. Much of the scholarship on the transformation of the news media industry tends to focus on the phenomenon from the perspective of the journalist and how the process of journalism itself is changing. Often, however, this work overlooks how the process and labourers of newswork are more wholly affected. Thus, this paper argues for a reorientation of the categories of workers involved in the news media industry to account for those involved in media operations – those that play an active role in maintaining the infrastructure that physically creates and disseminates newspapers on a text by text basis. In order to achieve this goal, the paper seeks to uncover the newswork that occurs in the concealed world of media operations and then illustrates how changes to the industry are impacting this area of focus. We conclude by offering several potential avenues of future research that would benefit from utilising a media operations perspective. In doing so, the paper furthers a more robust comprehension of the labour needed to perform newswork as the industry continues to undergo digital transformation.
{"title":"Media operations: a reorientation of newsworker categorisation","authors":"Allie Kosterich, Paul Ziek","doi":"10.1080/16522354.2020.1768723","DOIUrl":"https://doi.org/10.1080/16522354.2020.1768723","url":null,"abstract":"ABSTRACT The advent and popularity of digital and social media have forever transformed the news media industry, specifically impacting the overall production and distribution of hard-copy newspapers. Much of the scholarship on the transformation of the news media industry tends to focus on the phenomenon from the perspective of the journalist and how the process of journalism itself is changing. Often, however, this work overlooks how the process and labourers of newswork are more wholly affected. Thus, this paper argues for a reorientation of the categories of workers involved in the news media industry to account for those involved in media operations – those that play an active role in maintaining the infrastructure that physically creates and disseminates newspapers on a text by text basis. In order to achieve this goal, the paper seeks to uncover the newswork that occurs in the concealed world of media operations and then illustrates how changes to the industry are impacting this area of focus. We conclude by offering several potential avenues of future research that would benefit from utilising a media operations perspective. In doing so, the paper furthers a more robust comprehension of the labour needed to perform newswork as the industry continues to undergo digital transformation.","PeriodicalId":45673,"journal":{"name":"Journal of Media Business Studies","volume":"17 1","pages":"317 - 331"},"PeriodicalIF":1.3,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/16522354.2020.1768723","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49608164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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