The major obstacle to journalists’ willingness to collaborate is not their unawareness of the immense influence that new media has upon the press industry but their professional dignity. That is, the fiercer the competition that the press industry encounters, the greater the urgency that the journalists feel in defending the boundary between themselves, professionals and amateurs, who encompass all types of emerging information providers on new media. This elitist imagination of the profession motivates journalists to resist collaborating with the new media centres and inspires those who actively adapted themselves to converging news production.
Lā Qiáolā (La Jolla), Jiālìfúníyàzhōu -- Wénlín Yánjiūsuǒ xuānbù Wénlín Hànyǔ Xuéxí Ruǎnjiàn 4.2 bǎn yǔ gōngsī wǎngzhàn (wenlin.com) tóngbù lóngzhòng tuīchū. Wénlín 4.2 de xīn gōngnéng bāokuò kuòzhǎn de zìdiǎn, cídiǎn, Yīng-Hàn, Shuōwén Jiězì (Zhōngguó gǔdài Hànyǔ zìdiǎn) Yǐjí Wénlín zhuānyòng de CDL zìtǐ (wenlin.com/cdl) de zhòngduō gǎijìn, zìtǐ mùqián yǒu chāoguò 96000 ge CDL miáoshù. Qítā zēngqiáng gōngnéng, bāokuò gǎijìn sōusuǒ wénjiàn gōngnéng de jièmiàn, zhòngyào de jièmiàn xīn gōngnéng, yǐjí yīxiē xīn de hé gǎijìnle de gāojí xuǎnxiàng. Duìyú Mac OS X (10.7 huò gèng gāo bǎnběn), zhěnggè yìngyòng chéngxù yǐjīng chóngjiàn wéi 64 wèi Cocoa yìngyòng chéngxù, zhīchí gāo fēnbiànlǜ de Retina gāoqīng xiǎnshìpíng.
From a new perspective, this article proposes four principles in understanding and interpreting Han dynasty brick and stone pictorial reliefs. First, adopt a three-dimensional viewpoint to describe and interpret the motifs. Second, follow the order of “bottom to top and right to left” in viewing the pictorial presentations. Third, take a holistic approach in appreciation, examining the pictorial reliefs together with the architectures of the tombs, memorial arches and other monumental pieces. And fourth, develop a comprehensive method of investigation, situating the Han pictorial reliefs in the historical context, including social customs, philosophical ideas, intellectual culture, economic development and advances in architecture. In writing the article, the author has done a systematic analysis, using contemporary historical texts, archaeological findings and modern works.
Last year or the year before, I went to the trial over a deputy mayor in Fuzhou. Only another journalist and I went to the whole course of the first trial. He (a newspaper department supervisor) demanded strictly at that time that the number of online figures could not exceed 500. Plus, the next day he scolded (another journalist) in a loud voice, ‘It’s too foolish of you to have (only) offered them the lead of the foregoing news. You should have cut out a bit from each paragraph. You giving these 500 figures to others, who would read the newspaper?’ (Interviewee No. 14)
In the past when our Weibo and WeChat accounts were not taken over (by the new media centre of Xiamen Daily)… Journalists running to the spot would make an instant call to our editors, saying how a piece was on WeChat… Nowadays, the journalists no longer have such enthusiasm… Anyway, whatever the achievement is, they are not ours. (Interviewee No. 8)
Understanding why most interviewed journalists also asserted that the assumptions that ‘multi-skilled journalists’ who can write, photograph and edit is unrealistic (if not entirely unreasonable), and claimed that newspaper journalists should be differentiated from specialised new media journalists who will transform into expert-type journalists in the future by delivering objective, rational and in-depth reportage on a certain subdivided domain. In this conception, new media practitioners remain quite distinct from their peers from the traditional media. However, such a difference has undergone slight changes, that is, traditional media practitioners have begun to admit and accept the possibility that their new media counterparts may be professionalised in the domain of news production. Journalists are consulting about their roles in reference to new media, although they are more inclined towards constriction rather than extension when adjusting their professional boundaries.
Generally, the journalists’ reluctance to collaborate can be explained under the binary structure of ‘traditional media versus new media’, which is manifested at three levels. At the institutional level, the antithesis of traditional media versus new media is represented as the schism between ‘inside the system’ and ‘outside the system’. Given the impact of new media and the existing ideological control, the Fujian press industry has opted to sacrifice part of its economic gains for political security, which is also an option for journalists ‘inside the system’. At the organisational level, the antithesis is manifested as the enmity between the traditional and the new media departments. Divergent interests have made the leaders and journalists of metropolis newspapers less willing to cooperate with the centre compared with their counterparts from the party organs. At the individual level, the binary structure is manifested as the competition between professional journalists and other we-media runners. Faced with challenges from non-professional information providers, most journalists opt to follow their occupational boundaries and refrain from adding their voice to the new media.
Debates on the social influence of information technology have constantly been conducted around the ‘technology and democracy’ theme. The introduction of information technology, particularly the Internet, was once lauded with immense optimism and was thought to provide journalists with substantial latitude of free speech. Unfortunately, the media convergence of the Fujian press industry clearly demonstrates that the tensions between politics and technology fail to generate significant journalistic freedom in the Chinese local press industry. In fact, the logic of technology has been incorporated into the political logic such that new media outlets have assimilated the structure and routines of traditional media. This tendency is not unique to the dominant path of media convergence but prevails in every local press industry that is in pursuit of converging news production. Accordingly, the effects of such development on the ecology of China’s journalism must be further explored.
The effects of the dominant path of media convergence on the mid-size press industry are the focus of this study. The path chosen by the press industry in other regions of China may differ from the dominant one in Fujian due to the nuances of power structure, level of economic development, size of press group and other factors. For example, the Nanfang Media Group’s choice of the fully transformed path has a bearing on its pioneering spirit and remarkable investment, which are derived from its distance from the centre of political power, the prosperity of the market economy in Guangdong and the surrounding areas, and the considerable assets from accumulation within the media group in the past decades (Yin and Liu, 2013). Nevertheless, Fujian’s case discloses the common challenges that the Chinese press industry will face as they further advance the convergence regardless of which path they choose. This study also develops an analytical framework based on the interplay amongst the state, media and journalists to be used in future research on China’s media convergence.
Previous studies on the influence of media convergence in China either took a market- or norm-oriented approach. From a news production perspective, the current study analyses the interaction between the top-down design and bottom-up practices of journalists to disclose the influence of the dominant path of media convergence within the press industry of Fujian Province. A survey and 20 in-depth interviews show that the current media convergence practices of Fujian’s press industry fail to receive the support of journalists because of institutional, organisational and individual complexities, rather than technological reasons. This study discusses the implications of this finding for media convergence in China.
Lā Qiáolā (La Jolla), Jiālìfúníyàzhōu -- Wénlín Yánjiūsuǒ Shèhuì Mùdì Gōngsī (SPC), Wénlín Hànyǔ Xuéxí Ruǎnjiàn 4.2 bǎn fāxíng gōngsī, xuānbù chénglì dì-yī rèn dǒngshìhuì. Dǒngshìhuì chéngyuán bāokuò: Xiàwēiyí Dàxué Mǎnuò'ā Xiàoqū Zhōngguó Yánjiū Zhōngxīn fùzhǔrèn, Kǒngzǐ Yánjiūsuǒ zhǔrèn Rèn Yǒuméi (Cynthia Ning) bóshì; Shèngdìyàgē Zhōulì Dàxué Zhōngwén Xiàngmù gùwèn, “Měiguó Zhōngwén Jiàoshī Xuéhuì Zázhì” zhǔbiān Zhāng Zhèngshēng (Zheng-sheng Zhang); Richard Cook bóshì (yánjiū yǔ kāifā fùzǒngcái); Elisabeth Nuboer-Ranjhan (zhànlüè guānxì fùzǒngcái); Mark Roblee（yíngxiāo fùzǒngcái) hé Tom Bishop (zǒngcái).
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