Cover picture from May edition 2011 from the Kunda Dixit exhibition 'Frames of War'.
The Pacific Journalism Review, founded at the University of Papua New Guinea in 1994, is a peer-reviewed journal covering media issues and communication in the South Pacific, Asia-Pacific, Australia and New Zealand. It is now published by the Pacific Media Centre, AUT University, and has links with the Australian Centre for Independent Journalism and the University of the South Pacific.
Call for papers for the next edition: www.pjreview.info/submissions
While one objective is research into Pacific journalism theory and practice, the journal is also expanding its interest into new areas of research and inquiry that reflect the broader impact of contemporary media practice and education.
A particular focus will be on the cultural politics of the media, including the following issues – new media and social movements, indigenous cultures in the age of globalisation, the politics of tourism and development, the role of the media and the formation of national identity and the cultural influence of New Zealand as a branch of the global economy within the Pacific region. It also has a special interest in environmental and development studies in the media and communication – and vernacular media in the region.
As a genre of mass media, the romance movie has the potential to influence and shape audience’s views on socio-cultural issues of the time (Rahman, 2013). Asian romance movies often depict behaviours that challenge thei moral code such as obeying authority, adherence to cultural norms and putting society before self. For dramatic effect, such movies would often showcase scandalous themes and socially objectionable behaviours which are eventually resolved, indicating a return to socially accepted codes of conduct. There is a clear appreciation of values considered ideal in romantic partnerships including honesty and fidelity. Interestingly, such movies appear to capture the Asian diaspora, challenging social norms and negotiating its values, behaviours and beliefs against foreign elements. This article explores the scandals and consequences portrayed in some of these Asian movies, evaluating the effect this might have on their actors and a receptive audience. Elements of scandal in the personal lives of some of the actors make a case for life and art imitating the other in a cycle of challenge, compromise and conformity.
This study focuses on new media use in democratic discourse, specifically in the Queensland state electoral division of Ashgrove in 2011. This site was chosen to make an enquiry into the place of mass media in public decision-making, asking the question: did online media provide an extension of democracy, and what would be journalism’s role in democratic discourse? The study utilises a survey of 280 constituents, a review of pertinent news coverage, and extensive interviews with a panel of informants. In the outcome, it found those most equipped to utilise online media showed a lack of will to get involved in deeper political, social engagements. It also sees younger demographics forming news habits, not usually in step with traditional political avenues, based on familiarity with online processes, while consciously marginalising the need for trustworthiness in this setting. These issues are considered together with one leading proposal as to where the future of new media might be heading. It assesses the notion of professional and amateur collaboration by employing the model articulated by Beckett, called ‘networked journalism’.
Infomercial queen, recording artist, bankrupt, dancing victor; Suzanne Paul was a fixture on New Zealand television for more than 15 years and has been celebrated, valorised, critiqued and embraced. Yet, perhaps because of her ‘low-end’ appeal, Paul’s place on our screens has not been rigorously investigated. In this article, we argue that Paul’s importance lies in three main areas. First, during the 1990s, she was responsible for the paradigmatic televisual form—the infomercial. Second, she can be understood as a liminal figure, and one who encapsulates the dilemma of cultural production as a ‘new New Zealander’. Third, her story offers a case study of how the nominally famous can move from using themselves to sell products to selling themselves as a product—the ultimate selling (of) celebrity. Further, we argue that Paul cannot be understood without reference to the centrality of scandal to her persona and, indeed, narrative as a celebrity. The first ‘act’ of her career saw the television (and advertising) industry scandalised by her undercutting their standards with cheap, almost deliberately unironic infomercial marketing; the second saw her attempt a transition to the mainstream before a spectacular business failure and bankruptcy; in the third she embraced her disgrace, remodelled her persona and won a reality television dancing programme. Ultimately, we contend that Paul’s career depended on a constant interplay between the carefully constructed appeal she projected and her responsibility for, and responses to, a semi-permanent state of scandal.
This article reviews recent debate about the performance and impact of the Excellence for Research in Australia (ERA) evaluations in 2010 and 2012 on the field of journalism research, in particular discussion of the relationship between research in journalism and that in the fields of communication, media and cultural studies. In response to that discussion and the initiation of the Frontline section in this journal (Bacon, 2012; Abplanalp, 2012; Gooch, 2012; Fitzgerald, 2013) it strongly argues that journalism is a distinct field of academic research practice. It identifies and briefly canvasses a range of methodological issues arising from Stuart Adam’s (1994) characterisation of journalism research as addressing the real, the present and the public (p. 13), and issues arising from shifting technologies and editorial/peer review processes. It indicates a range of methodological literature in cognate disciplines that can be used to ground journalism as a distinct research practice among the humanities and arts disciplines.
This article reports New Zealand’s performance in the latest, 2010 round of the Global Media Monitoring Project (GMMP) covering 108 countries. Using quantitative and qualitative content analysis the GMMP measures the representation and participation of women in the news media. The findings demonstrate that gender inequality remains a defining characteristic of daily news content around the world. It is concerning that in 15 years of the GMMP, New Zealand has generally stood still while overall GMMP results show a continuing steady increase in the number of women featuring as news subjects and reporters. Indeed, despite more women working as reporters in New Zealand, the lack of progress was evident in the number of female news subjects. The picture emerging from data in 2010 is of increasingly feminised newsrooms in which women’s experiences and views are still seen and heard much less frequently than male voices in almost all news topics. Worse, women are virtually absent in sports and politics, areas dominating the Kiwi news agenda. We ask why women remain so consistently under-represented in mainstream news and review some suggested solutions to that under-representation.
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