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A Golden Age of Podcasting? Evaluating Serial in the Context of Podcast Histories
Abstract
This article considers the 2014 podcast Serial within a context of technical change and podcast histories. Building on previous work, the author argues that Serial is a significant moment in the history of podcasting. Recent trends have shifted podcasts from iPods to networked screen-based mobile devices in smartphones and connected dashboards, locations where global brands enjoy a significant advantage. It is in this context that the author places Serial as cultural object.
... At this point, media and journalism, beyond the early pioneers from the United States and Great Britain, also began to experiment with podcasts as a new innovative format in the field of audio (Körner and Graßl 2024;Laughlin 2023;Wild and Katzenberger 2021) and to use the potential of podcasts as a new distribution channel for news in the digital ecosystem (Leoz-Aizpuru and Pedrero-Esteban 2022; Legorburu et al. 2021;Lindgren and Loviglio 2022). By now, podcasts have not only complemented already existing mass media (Lindgren 2016) but have become a "disruptive technology" in the context of information distribution via audio (Berry 2015), as Nee and Santana (2022) describe in the context of the "emergence of news podcasts". The global progress of podcasts is nevertheless highly heterogeneous, depending on different media markets and the respective media socialization, as several international comparative studies show (Llinares et al. 2018;Newman and Gallo 2020;Sang et al. 2020). ...
... If one does not take into account the studies about podcasters from the pioneering period of the medium (Markman 2012;Mocigemba and Riechmann 2007), little is known about their sociodemographic and, even more so, about their professional profiles. Research on journalistic podcasts and their creators has primarily relied on case studies or qualitative studies with rather small samples or national perspectives (Berg 2022;Berry 2015;Körner and Graßl 2024;Legorburu et al. 2021; Leoz-Aizpuru and Pedrero-Esteban 2022). While they certainly provide valuable insights into specific cases and countries, it is difficult to generalize findings and derive overarching patterns. ...
... Above all, they fully embrace an "audience approach" (Mellado et al. 2023) and the idea of "serving the audience" (Perreault and Ferrucci 2020). Thus, even though podcasts are often being labeled as "disruptive technology" (Berry 2015) for their use of new narratives and storytelling techniques (Dowling and Miller 2019), new organizational forms (Jorgensen 2021), and new monetization models (Katzenberger and Wild 2023), in many cases their producers identify with some traditional roles and values and are hence oriented towards classic functions of journalism. ...
News podcasts have emerged as a relevant medium, contributing to the collection, analysis, interpretation, and dissemination of information in mass media discourse. This paper presents an analysis of the sociodemographic backgrounds, professional profiles, role perceptions, and values of news podcasters based on an online survey of 195 participants in Austria, Germany, and Switzerland. The results reveal that news podcasters are predominantly male, middle-aged, and academically educated with no journalistic socialization or journalistic working experience. In terms of self-images and values, news podcasters emphasize the importance of education, information, and entertainment, while rejecting conventional concepts like criticism and control. Overall, they demonstrate a strong orientation towards the needs of their audiences and strive to be responsive to their preferences. Yet, the monetization of content through financing models such as sponsoring or native advertisement is not established on a broad scale. These findings shed light on the unique characteristics of news podcasters and provide insights into their status in a rapidly changing media environment.
... The term podcast is a combination of "pod," derived from Apple's portable media player, the iPod, and "broadcast" (Apiyo, 2019:1). Podcasting as innovative audio storytelling first appeared in the early 2000s (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). It has been growing in popularity due to its niche "on-demand" content which is hyper-intimate and allows for flexibility in terms of consumption routines, as it can be downloaded at any other time (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). ...
... Podcasting as innovative audio storytelling first appeared in the early 2000s (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). It has been growing in popularity due to its niche "on-demand" content which is hyper-intimate and allows for flexibility in terms of consumption routines, as it can be downloaded at any other time (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). Berry (2015) argues that podcasting is somewhat located at the intersection of digital and non-digital media. ...
... It has been growing in popularity due to its niche "on-demand" content which is hyper-intimate and allows for flexibility in terms of consumption routines, as it can be downloaded at any other time (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). Berry (2015) argues that podcasting is somewhat located at the intersection of digital and non-digital media. The personalised listening nature of podcasts was born out of a complex process of "displacement of" and "convergence" with older media, mainly broadcast radio (Perks & Turner, 2019:99). ...
This chapter examines how the youth in Zimbabwe are using podcasting tools to create and disseminate content that articulate their concerns. The rise of participatory media such as podcasting is transforming communicative practices across the globe. As a new form of storytelling, podcasting is shaping the production, dissemination, and consumption of knowledge for democratic engagements. Drawing upon Robert Asen’s concept of subaltern counterpublics, we examine how content creators, community reporters, citizen journalists, and so on in Zimbabwe are utilising the opportunities offered by podcasting technologies and platforms to participate and tell the stories of young people. Given that podcasting offers the means for participation, representation, and cultural citizenship, we explore how the youth are involved in the production of content in ways that are widening the democratic cultures in the country. Data were drawn from a network of young podcasters who have been trained by Bulawayo-based media-related organisations such as the Centre for Innovation and Technology (CITE) and Internews. Through interviews with selected podcast hosts and an analysis of their podcast content, we argue that podcasting reinvigorates the democratic environment in Zimbabwe by offering an alternative space for the youth to articulate their grievances. However, the exorbitant data costs and the digital divide in the country are undermining the opportunities offered by these podcasting technologies.
... The term podcast is a combination of "pod," derived from Apple's portable media player, the iPod, and "broadcast" (Apiyo, 2019:1). Podcasting as innovative audio storytelling first appeared in the early 2000s (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). It has been growing in popularity due to its niche "on-demand" content which is hyper-intimate and allows for flexibility in terms of consumption routines, as it can be downloaded at any other time (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). ...
... Podcasting as innovative audio storytelling first appeared in the early 2000s (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). It has been growing in popularity due to its niche "on-demand" content which is hyper-intimate and allows for flexibility in terms of consumption routines, as it can be downloaded at any other time (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). Berry (2015) argues that podcasting is somewhat located at the intersection of digital and non-digital media. ...
... It has been growing in popularity due to its niche "on-demand" content which is hyper-intimate and allows for flexibility in terms of consumption routines, as it can be downloaded at any other time (Berry, 2015;Lundström & Lundström, 2021;McClung & Johnson, 2010). Berry (2015) argues that podcasting is somewhat located at the intersection of digital and non-digital media. The personalised listening nature of podcasts was born out of a complex process of "displacement of" and "convergence" with older media, mainly broadcast radio (Perks & Turner, 2019:99). ...
This chapter was designed to investigate how the Nigerian youth—the largest age group in the country—deploy social media platforms to consume radio content on topical public issues to establish the intermediality of radio broadcasting and social media in driving the national renaissance. While Media Dependency and Democratic Participant theories formed the theoretical framework, we combined survey and Focus Group Discussion (FGD) as research methods. One hundred and fifteen copies of the online survey questionnaire were administered to youths, while five sessions of FGD were held with select young people who used social media and listened to the radio. The findings revealed that radio is still a popular news medium among the youth. Also, the study established that social media, via their capacity for wide reach, cost-effectiveness, and multimodality, have rather enhanced the significance of radio than undermined its efficiency as an agent of national reawakening and cohesion. Therefore, given the fact that every social change is usually youth-driven across climes, social media and radio must be deployed in synergy for better youth participation in the national discourse.
... Scripted journalistic podcasts combine many traditional tools of storytelling, such as voice, character development, scene-setting, dialogue and dramatic tension (Nee & Santana, 2021), with new techniques made possible by their audio format: immersion (Berry, 2016), intimacy (Waldmann, 2020) and a connection between podcast hosts and listeners (Waldmann, 2020). The results are compelling and entertaining "cultural objects" (Berry, 2015) and "cultural products" (Dowling & Miller, 2019), of which there are "infinite variety" (McHugh, 2016). ...
... The barrier to creating podcasts is low, and the tools for distributing them are openended (Berry, 2015). Similarly, they're easy and generally free for people with internet access to listen to. ...
... Podcasting is not a monolith, and the medium encompasses a wide variety of genres, creators and forms of storytelling. There is no regulating body for podcasts, nor a shared set of standards; as such, they still "retain the ethos of an amateur medium" (Berry, 2015). In an age of declining public trust in news media, it's critical to understand how audiences trust this medium as a source of news and information, and how they understand the journalistic function of podcasts in sharing information. ...
Podcasting is a well-established medium with a rapidly growing audience but no established ethical standards or professional practices across a wide variety of genres. Through a representative national survey of American internet users ( n = 1,025), this research examined how much podcast listeners ( n = 529) trust podcasts as a source of news and how they evaluate their journalistic merit. Podcast listeners trust podcasts less than most other sources of information, with the exception of online news and satirical news programs. And though listeners agree that podcasting is a form of journalism, a way to stay informed about news and current events, and a valuable source of information, they’re more skeptical of podcasts when comparing them to traditional news sources of information. Age is the only demographic category that predicts listening frequency.
... Akan tetapi, seiring berjalannya waktu, podcast turut digunakan oleh perusahaan-perusahaan media tradisional, seperti radio, televisi, hingga koran sekalipun untuk menyampaikan konten atau pesan. Salah satu podcast yang disebut-sebut sebagai salah satu penanda awal mula masa keemasan podcast adalah Serial, yaitu podcast berseri tentang kisah pembunuhan yang episode pertamanya muncul tahun 2014 (Berry, 2015). Ketika itu, Serial didistribusikan melalui RSS feed, website, dan platform seperti SoundCloud, YouTube, dan iTunes, dan tercatat bahwa podcast ini diunduh hingga lebih dari 5 juta kali. ...
... Ketika itu, Serial didistribusikan melalui RSS feed, website, dan platform seperti SoundCloud, YouTube, dan iTunes, dan tercatat bahwa podcast ini diunduh hingga lebih dari 5 juta kali. Keberhasilan podcast Serial pun menunjukkan potensi podcast untuk memasuki pasar yang lebih mainstream (Berry, 2015). Kemudian, Bonini (2015) menyatakan bahwa dengan masuknya podcast ke ranah yang lebih mainstream, kreator podcast terbagi ke dalam dua kelompok, yakni kreator amatir yang tidak berorientasi profit, dan kelompok komersial yang mengejar profit. ...
... Especialmente significativo fue el podcast Serial, lanzado en 2014. Se trata de la primera serie de podcasts de investigación de delitos reales que, después de un mes, ya tenía 1 millón de descargas por episodio y, al cabo de un año, concentraba más de 90 millones de descargas (Berry 2015). Aura Lindeberg (2019) sostiene que el podcasting solo fue reconocido por las empresas de medios como tecnológica y económicamente interesante después del éxito de Serial. ...
... Es evidente la transformación constante a la que ha estado sometida la radio en las últimas décadas, avanzando cada día más hacia la interactividad plena y posibilitando la «comunicación personalizada» (Cebrián Herreros 2009: 14), cambios que se han vertebrado en torno a dos ejes: el auge en la conectividad de la población y del uso del smartphone (Pedrero-Esteban et al. 2022;Moreno Cazalla y Pedrero Esteban 2020;Berry 2015). En este contexto de evolución permanente han ido surgiendo en las últimas décadas conceptos como «la radio bajo demanda» y se ha visto como el medio radiofónico se ha ido adentrando «en un universo global», en el que se traspasan fronteras físicas para enfatizar otras «dimensiones de afinidad» (Cebrián Herreros 2009: 15). ...
Este trabajo busca caracterizar las asignaturas de Historia del Periodismo que se impartieron de manera presencial en los grados en Periodismo durante el curso 2020-2021. Para ello, se aplica un análisis de contenido a las guías docentes de las 36 asignaturas de Historia del Periodismo impartidas en el sistema universitario español. Se concluye que, entre otros aspectos, la asignatura tipo de Historia del Periodismo es una asignatura obligatoria, de 6 ECTS, que se imparte en 2.º o en 3.º y que desarrolla sobre todo competencias cognoscitivas y procedimentales. Además, es mayoritariamente una Historia del Periodismo Universal, cuyo contenido abarca desde el siglo XV hasta el XX, si bien se concede más peso a la contemporaneidad. Es una materia en la que sobresalen las clases teóricas y el trabajo individual, y que se evalúa sobre todo mediante exámenes y trabajos individuales / This paper seeks to characterize the subjects of History of Journalism
that were taught in the classroom-based degrees in Journalism during
the 2020-2021 academic year. For this, a content analysis is applied
to the teaching guides of the 36 subjects of History of Journalism taught
in the Spanish university system. It is concluded that, among other aspects,
the type subject of History of Journalism is a compulsory course,
of 6 ECTS, which is taught in 2nd or 3rd year and which develops, above
all, cognitive and procedural skills. In addition, it is mostly a History of
Universal Journalism, whose content ranges from the fifteenth to the
twentieth century, although more weight is given to contemporaneity.
It is a subject in which theoretical classes and individual work stand out,
and which is mainly evaluated through exams and individual work.
... Especialmente significativo fue el podcast Serial, lanzado en 2014. Se trata de la primera serie de podcasts de investigación de delitos reales que, después de un mes, ya tenía 1 millón de descargas por episodio y, al cabo de un año, concentraba más de 90 millones de descargas (Berry 2015). Aura Lindeberg (2019) sostiene que el podcasting solo fue reconocido por las empresas de medios como tecnológica y económicamente interesante después del éxito de Serial. ...
... Es evidente la transformación constante a la que ha estado sometida la radio en las últimas décadas, avanzando cada día más hacia la interactividad plena y posibilitando la «comunicación personalizada» (Cebrián Herreros 2009: 14), cambios que se han vertebrado en torno a dos ejes: el auge en la conectividad de la población y del uso del smartphone (Pedrero-Esteban et al. 2022;Moreno Cazalla y Pedrero Esteban 2020;Berry 2015). En este contexto de evolución permanente han ido surgiendo en las últimas décadas conceptos como «la radio bajo demanda» y se ha visto como el medio radiofónico se ha ido adentrando «en un universo global», en el que se traspasan fronteras físicas para enfatizar otras «dimensiones de afinidad» (Cebrián Herreros 2009: 15). ...
No cabe duda de que la profesión periodística se encuentra inmersa en un proceso de evolución y de cambios sociales, educativos, económicos y tecnológicos que implican una variación no solo estratégica, sino de mentalidad. Esta obra aborda precisamente cómo se están viendo afectados los medios de comunicación por el contexto digital. De esta manera, los nueve capítulos que conforman el volumen se centran en temas vinculados con los avances en la capacidad computacional y en la inteligencia artificial: cómo combatir la información falsa, qué técnicas y herramientas digitales utilizar para evaluar las imágenes y mejorar la experiencia del usuario, cómo automatizar algunos trabajos rutinarios en el oficio periodístico, entre otros. Estas transformaciones que afronta la profesión también repercuten en la conformación de los perfiles profesionales en el ámbito de la comunicación; de ahí que se analice el modelo de formación en periodismo digital de los futuros egresados.
... Depois de uma migração digital que se planeava poder conduzir ao eventual switch-off da difusão analógica terrestre, tal como aconteceu na televisão, ter tido diferentes destinos em vários pontos do mundo 1 , a internet tornou-se nuclear para a discussão do futuro da rádio. A visão inicial consubstanciava um antagonismo sustentado pela ideia de que a internet e os conteúdos sonoros on-demand, quer em plataformas online, quer nos leitores portáteis, constituíam uma ameaça à rádio (Berry, 2015;Ferguson, Greer & Reardon, 2007;Hilmes, 2013b). ...
... Por outro lado, o podcasting tem igualmente aberto novos caminhos ao jornalismo, quer hibridizando, experimentando novos formatos, quer recuperando a linhagem do jornalismo narrativo, quer ainda pondo em prática dinâmicas transmediáticas e interativas (Santos, 2021;Berry, 2015;Edmond, 2015). O terreno dessa mudança tem sido sustentado pelo interesse na história pessoal (Lindgren, 2014;Biewen & Dillworth, 2014), um comportamento primordial do ser humano que encontramos tão bem exposto nas dinâmicas das redes sociais (Santos & Peixinho, 2019). ...
Este estudo procura identificar características da produção e distribuição de podcasts no contexto português, tendo em perspetiva a distinção entre os projetos tutelados por meios de comunicação social e as iniciativas dinamizadas por outros tipos de entidades. Com base numa amostra por conveniência (433 podcasts, dos quais 245 são nacionais), são analisados dados como a propriedade/filiação dos projetos, temáticas dominantes dos conteúdos, periodicidade e duração média dos episódios, ou plataformas de distribuição. Os resultados sugerem uma forte expressão de podcasts tutelados por meios de comunicação social, bem como um recurso ao podcast como canal alternativo de distribuição de conteúdo produzido para a rádio e televisão.
... As part of its launch, one of the founders (Ira Glass) presented a short video featuring an elderly neighbour who faces the camera and explains to the audience how to listen to a podcast (Serial) using the podcast website player or through a mobile app. The report suggests that, although the spectators had heard about podcasts, there were still barriers that seemed to prevent many people from listening to them (Berry, 2015). ...
New platforms for information: Choreographies to tell the news on TikTok
Los medios de comunicación que usan plataformas como TikTok corren el riesgo de distorsionar la percepción de su profesión. Al actuar como "showman" y crear personajes exagerados para ganar "likes", los periodistas corren el riesgo de dañar su credibilidad. Los medios de comunicación desarrollan estrategias basadas en el humor y el espectáculo en TikTok para interactuar con la audiencia y eso tiene un efecto en la manera de lograr el reconocimiento profesional tradicional.
... There are also online platforms that offer free podcast distribution services and audio editing software that can be downloaded free of charge, further underscoring the lower cost threshold associated with podcast production. The podcast scholar Richard Berry (2015) argues that podcasts may be more accessible than other more traditional media forms because podcast programming can be posted online and made readily available to consumers, along with its relatively low equipment requirements. In part because of this, he argues that podcasting potentially creates unique opportunities for the democratization of media production and consumption. ...
... El impacto de Serial no solo marcó un antes y un después en la historia de la industria del podcasting como tal, sino que dio un impulso importante a los formatos narrativos y al desarrollo de más proyectos similares en el campo de la ficción sonora (Arquero, 2015;Berry, 2015;Bottomley, 2015). Asimismo, al tiempo que logró captar la atención de la industria y comprobar el éxito de la "receta" del true crime, también dio paso a la experimentación y difusión de otros géneros narrativos que otrora fueran populares en la época del radioteatro, como los pódcasts de terror, o bien, los de ciencia ficción (McHugh, 2016;Hancock y McMurtry, 2017). ...
This paper examines the growing rise of fiction podcasts in Spanish within the current context of the digital literary sphere in the Hispanic sphere. Initially, podcasting is analyzed as a hybrid medium situated at the confluence of intermediality and the recent platforming of cultural production. Then, the recent relationship between audio drama and speculative science fiction narratives is delved into, highlighting the prevalence of themes related to dystopian futures, apocalyptic imaginaries, and techno-scientific speculations. Subsequently, it offers a panoramic view of the production of podcasts within this line in Latin America and Spain. The article concludes with a proposed research agenda that seeks to establish a dialogue between comparative literature and the paradigm of intermediality to position sound fiction as an object of transdisciplinary study.
... The asynchronous nature of podcasts gives users more flexibility as to when they can listen; podcasts allow individuals to control when, where, and how they consume the content (Prakash et al., 2017;Drew, 2017b;McNamara & Drew, 2019), which frees listeners from the "tyranny of the schedule" (Berry, 2015). This has been referred to as time-shifting (Muppala & Kong, 2007) and is a primary motivation for using podcasts (McClung & Johnson, 2010;Prakash et al., 2017;Drew, 2017b;McNamara & Drew, 2019). ...
We live in an on-demand world where digital content can be consumed when and where we want. In this paper, we report on a project that used on-demand content consumption (i.e., podcasts) as supplemental material for higher education students. Each 5-10-minute podcast provides an overview of the assigned chapter readings. Our work makes several contributions. First, we discuss some implications of the current on-demand society on higher education. Second, we provide information regarding podcasting as a method for aligning learning with students’ desires for on-demand media consumption. As part of this discussion, we demonstrate through a survey and download statistics how our low-cost initiative yielded sufficiently positive results to merit continuation. Finally, we detail the process of creating podcasts for our readers to replicate and adapt our initiative, including providing tips and discussing ways to adapt our process to other higher education courses.
... Like producers, listeners are active social media users and have been actively following several different podcasts since they started listening to podcasts in 2019. However, the claim made by Sellas (2012) Research conducted in 2014 on the podcast Serial showed that the move to mobile devices was essential to the success of podcasts (Berry, 2015). On the other hand, data from 2009 showed that podcasts were mainly listened to on computers (Webster, 2009) Overall, the research results would partially resemble each other due to the presence of some cultural similarities and some similarities in the economic and political structures of Turkey and Serbia in the current century. ...
The topic of podcasting has been analyzed from different perspectives in academic studies, mainly in developed countries such as the USA, UK, Australia, Canada, and some European countries. However, this is different for developing countries such as Serbia and Turkey. The reason for including these countries in this study is the limited number of academic studies on podcasting in countries like Serbia and Turkey. This study uses a quantitative approach and surveys Serbian and Turkish podcast listeners to examine their tendencies toward the podcast ecosystem. According to the data collected from 923 podcast listeners, podcasting in Serbia continues to be part of the visual culture on digital platforms, while in Turkey, podcast environments have been adopted by listeners. In addition, podcasts in Serbia are much longer than those in Turkey. However, Serbian listeners are more demographically diverse than Turkish listeners, and podcasting has been found to reach a wider audience in Serbia.
... Each of these texts received wide acclaim and a large, international audience, but they also generated discussion -and in some cases action -online. When the first season of Serial concluded with no definitive answer for who killed Hae Min Lee fans created a forum on popular internet site Reddit to continue examining the murder (Berry 2015;Yardley et al. 2016Yardley et al. , 2017. Set up in October 2014, with more than 70,000 members at the time of writing, the subreddit is 'a place for listeners to find information about the podcast and to discuss theories, predictions and other aspects of the show and case'. ...
Crime Junkie, widely regarded as the most popular true crime podcast, is accused of repeated plagiarism and potential intellectual property infringement. These claims are well-documented, yet the podcast remains highly successful. This study examines the ethical implications of plagiarism in an unregulated industry through the lens of media coverage, an interview with the host of Crime junkie, and responses from audience and industry peers. I argue that the future of the true crime genre and podcast
media could be impacted by how well-known podcasts are held responsible (or not) for their actions.
... Selain itu, dari beberapa survei yang dilakukan di Amerika Serikat, Portugal, Brazil, dan Korea Selatan, lebih dari sepertiga partisipan menyatakan bahwa mereka pernah mendengarkan podcast dalam satu bulan terakhir (Newman et al., 2019). Jadi tidak heran jika banyak studi yang menyebutkan bahwa dunia tengah mengalami Golden Age of Podcasting (Berry, 2015), Podcast Renaissance (Roose, 2014), atau Podcast Revolution (Walker, 2019). ...
The world is entering the Golden Age of Podcasting, as evidenced by the amount of podcast consumption that continues to grow and is predicted to continuously increase. The rapid progress of this new medium has not gone unnoticed by advertising practitioners. The closeness formed through parasocial interactions between listeners and broadcasters makes podcast platforms a soft ground for advertising due to the low resistance of listeners to advertisements that are perceived through story narration. This study is carried out by combining qualitative and quantitative approaches to measure the potential of podcast advertising in Indonesia through a case study of one of the most popular podcast programs in Indonesia, which is Podkes Kesehatan Masyarakat (Podkesmas). Using literature study and observation methods, researchers are trying to identify Podkesmas profiles and their advertising approaches. After that, using quantitative methods through a purposive survey of Podkesmas listeners, this study aims to find out whether listeners do feel the closeness to podcasters (audience-host relationship), whether such proximity positively affects listeners' attitudes towards podcast ads, whether that proximity affects listeners' consumption of the advertised product, and whether the way the broadcaster delivers the ad affects the listener's intention to purchase the advertised product. The results of the linear regression found that there is indeed an emotional closeness between listeners and podcasters that causes listeners' positive attitudes toward podcast ads. However, this emotional proximity does not significantly affect their consumption of the advertised product. In addition, the approach of delivering ads using narration also does not significantly predict the consumption behavior of podcast listeners.
... Due to the internet limitations of the early and mid-2000s, MP3 audio files needed to be downloaded to portable devices via computers to be available for listening elsewhere and at a later time (Kavaliauskienė, 2008;Kidd & Chen, 2009;Man-Man SZE, 2006). The concept of podcasting, as a welcome alternative to scheduled radio programs, was first introduced in 2004 (e.g., Berry, 2015) by Dave Winer and Adam Curry ii . As stated by Sullivan (2019, p. 2), a major advantage of podcasts is "(…) the openness of its distribution mechanism. ...
Podcasts are popular among listeners of all ages. In addition to being educational and entertaining, they are a source of authentic language, featuring a diverse range of speakers, which makes them highly effective in language teaching. The advantages of using podcasts in FL teaching and learning have been documented across different language domains. Additionally, the use of podcasts can have a positive impact on learners' emotional traits such as motivation, self-confidence, and attitudes. It also serves as a foundation for independent and lifelong learning. Therefore, it is crucial to thoroughly investigate and assess podcasts from the perspective of language teachers to maximize their potential as teaching resources. To achieve this, pre-service teachers are observed as both language learners and language teachers, evaluating podcasts as potential teaching materials in English as a Foreign Language (EFL). The first section of this paper provides an overview of research involving podcasts and their impact on foreign language learners’ listening and speaking skills, lexical development, and intercultural communicative competence. The primary objective of this paper is to investigate the views and attitudes of pre-service English teachers regarding the implementation of podcasts in EFL, which are presented in the second part. The findings revealed that pre-service teachers are extensively exposed to podcasts in their private time, particularly in English. The majority of participants self-reported certain language improvements that could be attributed to podcast consumption. All participants shared a positive attitude toward using podcasts in their future teaching of EFL from the standpoint of language teachers, granting some boundaries when considering the ages and grade levels of EFL students. Potential differences between senior and junior pre-service teachers, as well as correlations between the included variables, are examined and discussed with respect to their exposure to teaching methodology courses and EFL teaching practice.
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... Su precisa factura sonora, el interés de la trama y su excelente desarrollo narrativo hicieron que tuviera un éxito de audiencia inmediato y fuera considerado como el mejor pódcast de la historia. Como señala RichardBerry (2015), surgió en el momento justo por una combinación de factores como los cambios en la tecnología de consumo digital, las redes sociales y la retroalimentación que favorecen. En todo caso, mostró cómo integrar toda una serie de herramientas en la realización de un pódcast y conseguir así un producto más avanzado que una sencilla grabación sonora. ...
A lo largo del último siglo la divulgación arquitectónica se ha transmitido a través de las ondas. La radio servía para acercar la cultura y la arquitectura a los ciudadanos y algunas de estas emisiones fueron publicadas en libros que ahora son de cabecera para entender la disciplina. Los hábitos de consumo han cambiado y el pódcast ha tomado el relevo de la radio tradicional, ofreciendo una libertad de elección de contenidos antes inimaginable. También están cambiando los métodos de investigación y el modo en el que se difunden. Se busca estudiar si la experiencia original del programa de radio como herramienta de investigación y divulgación puede ser replicada en el formato pódcast.
... 22 Serial was first released in 2014 by WBEZ, an American radio station, at a time at which Edison Research reports approximately 39 million podcast listeners across the US. 23 An almost instantaneous sensation, Serial has often been referred to as the greatest podcast ever made, becoming the subject of countless talks and theories. 24 With the central theme being unsolved, or mysterious murders, the podcast enabled the listeners to engage with it, producing a great deal of theories, which they then shared on social media platforms, such as Twitter, which further contributed to the show's popularity. ...
The history of the emergence of podcasting around world is widely described in available literary or online sources. The situation in Slovakia differs. There is no relevant data or information regarding the emergence of podcasts, which is why, in preparation of this study, we approached the producers or creators of some of the first podcasts in Slovakia. Through a series of semi-structured interviews, we asked about the circumstances surrounding the emergence of podcasting, their initial strategies, the practical implementation of podcasting, listeners‘ reactions, success evaluation. We compared the information we had obtained with the described history from around the world, we defined the commonalities, the points of concurrence in the rise of podcasting in the world, as well as in Slovakia, while focusing on the exclusively local particularities. In the conclusion, the study addresses the prospects of podcasting expansion in the near future, through collecting the opinions of the respondents.
... Conteúdos com alguma informalidade, com uma linguagem por vezes menos cuidada e mais vernacular visam, em muitos casos, torná-los mais populares e talvez mais atrativos. Os podcasts habitam um espaço limiar entre as práticas dos media de distribuição em massa e dos media online, utilizando características de cada uma delas (Berry, 2015). Esta zona de interseção tem-se tornado tendencialmente mais difusa dado o incremento de podcasts que têm assumido a imagem como uma característica complementar cada vez mais importante, ou seja, com o crescimento do vodcast. ...
Este artigo apresenta os resultados de uma análise comparativa onde desconstruiu uma amostra de podcasts portugueses e brasileiros, num total de 20 podcasts, e onde foi possível identificar um conjunto alargado de indicadores presentes ou ausentes nos mesmos. Os podcasts escolhidos dominavam, à data, a lista de podcasts de maior audiência produzidos em Portugal e no Brasil. Os resultados permitiram aos investigadores compreender melhor alguns dos indicadores estruturantes inerentes aos podcasts e, ao mesmo tempo, fornecer algumas informações sobre os principais podcasts tanto na paisagem podcast portuguesa como na brasileira.
... It became a distribution technology comparable to a mass communication medium (Bonini, 2015). Serial gave podcasting a hopeful future thanks to the increase in users with network access and, especially, the exponential penetration of smart phones during those years (Berry, 2015). The transition from an amateur to a professional environment in the distribution of sound content based on its profitability thanks to inserted advertising (Bonini, 2015) does not prevent the continued presence of domestic creators in this sound environment, open to both authors who try out this format on an individual basis and producers who take a chance on podcasts as alternative channels to radio, television, or even printed media. ...
Fifteen years after the term was coined, the podcast is now consolidated as a sound format with a specific identity within the digital media ecosystem. The practice of podcasting is none other than radio, but one encompassing diverse production on both expressive and thematic levels whose properties (mobility, narrative fragmentation, and the integration of multiple devices) and personalized consumption generate a very different listener attitude compared with traditional radio. After an initial period of independent amateurism strongly conditioned by the technologies available, the podcast has achieved significant global popular recognition, as well as an increasingly important professional dimension thanks to the emergence and spread of new distribution platforms (podcast networks) designed to serve as alternatives to the dominant feeds (such as Apple Podcasts, Google Podcasts, iVoox, and Spotify) that rely on different catalogs and business models. This investigation identifies, describes, and systematically orders the main management and marketing models for podcasts on these platforms on the basis of a comparative analysis of fourteen of them, two in each of the eight countries in Europe, North America, and Latin America where this format is most widespread: Acast (Sweden); Podimo (Denmark); Binge Audio and Majelan (France); Podimo Spain and Podium Podcast (Spain); PodcastOne and Luminary (USA); Convoy Network and Puentes (Mexico); Posta and Parque Podcast (Argentina); and Pia Podcast and Podway (Co-lombia). The study measures and compares the offerings of each of the studied platforms using different quantitative and qualitative variables (age, territorial reach, content categories, dominant genres, funding, and consumption). The objective is to start to draw up a global map of the main operators in the podcasting industry, and to identify the production trends and marketing strategies of a format with increasing impact and demand, destined to become the future heir of broadcast radio. María-de-la-Peña-Mónica Pérez-Alaejos; Raúl Terol-Bolinches; Andrés Barrios-Rubio e310524 Profesional de la información, 2022, v. 31, n. 5. e-ISSN: 1699-2407 2
... В работах российских исследователей подкасты являются объектом пристального внимания (Воинова, Сивякова, 2018; Волнухина, 2019; Журавлева, 2020), однако до сих пор они не получили четкого и целостного описания. Явление «подкастинга» глубоко изучается западноевропейскими учеными (Berry, 2015;Bonini, 2015), рассматривается в медиаизданиях (Farivar C. 10 Years of Podcasting: Code, Comedy, and Patent Lawsuits // Ars Technica. 13.08.2014. ...
The paper is devoted to the study of podcasts as a new discursive practice in the Russian media space. The study aims to determine the specifics of discourse-forming parameters of podcasts. The paper ascertains that these parameters are formed taking into account technological and communicative characteristics of podcasts. The study is novel in that it is the first to consider podcasts as a new discursive practice in the Russian media environment, to identify and describe their main discourse-forming characteristics. As a result of the analysis, it has been proved that the content of each parameter contains an interactive component that determines the demand for podcasts in the digital environment.
Cet article présente la méthodologie employée pour le recensement des podcasts natifs d’information français dans le cadre de l’Observatoire du podcast (programme Obcast). Un tel recensement, dans un contexte de croissance rapide du secteur, contribue à une meilleure connaissance de l’offre, pour la recherche et pour le monde professionnel naissant, tant d’un point de vue quantitatif que qualitatif. Il constitue aussi un premier jalon, important pour les recherches en cours et à venir sur le secteur du podcast, puisqu’il permet de faire émerger des questions, des hypothèses et des terrains de recherche. Ainsi, nous montrons que les stratégies de valorisation des podcasts sur le site de leur producteur sont très hétérogènes et interrogeons le processus de normalisation technique et professionnelle à l’œuvre dans le secteur. Nous attirons enfin l’attention sur des corpus de podcasts revêtant un intérêt particulier du fait de leur thématique (coulisses du journalisme, notamment).
How do American true crime podcasts represent women victims of murder? Emerging research shows that the podcast storytelling format can produce more personal and compassionate discourse, potentially countering the overall harmful representations of the true crime genre. However, research focusing on the representation of women victims of violence in the podcast genre has so far been limited. Based on a discourse analysis of 14 popular true crime podcast episodes released between 2014 and 2021, we identified that the murdered women in the podcasts are represented as part of a dehumanized group who are complicit in their deaths and who serve as a cautionary tale for other women. Based on these findings, we argue that although podcasts' discursive dynamics can potentially introduce alternative representations of the victims based on social group identification and self-reflexivity, overall, American true crime podcasts align with dominant representations and discourses about stigmatized victims.
El pódcast narrativo de no ficción se erige como un género en el que es posible profundizar en la información. Uno de los periodistas pioneros en el desarrollo del formato en España es Álvaro de Cózar. V, las cloacas del estado (2016) fue su primera producción sonora, con la que abrió las puertas a este género con un tono muy personal en el universo del podcasting español. Desde entonces, ha cosechado diversos éxitos con un estilo propio. El objetivo de este artículo es analizar los pódcast documentales del autor, determinar el contexto y examinar la aportación de este formato al movimiento slow journalism. En este artículo, analizamos cuatro producciones sonoras de este periodista: V, las cloacas del estado (2016), X-rey (2020), Los Papeles (2021) y El País de los Demonios (2023). La metodología utilizada es el análisis de contenido y entrevista en profundidad de preguntas abiertas con el periodista. La inmersión del narrador en la historia, la utilización de documentación sonora, la combinación de elementos clásicos del periodismo con nuevas técnicas narrativas, artísticas y de investigación contribuyen a una nueva forma de hacer periodismo y ofrecer al oyente la oportunidad de analizar los hechos con profundidad para sacar conclusiones propias.
A divulgação científica no Brasil ganhou notoriedade e destaque na Internet nas últimas décadas, possibilitando o surgimento dediversas iniciativas como os podcasts. Neste artigo, abordamos o fluxo de produção do Podcast Microbiando, um projeto de extensão Universitária da Universidade Federal do Rio de Janeiro na cobertura de temas da área da Microbiologia e Imunologia de forma contextualizada. Descrevemos brevemente as etapas necessárias para a produção de um episódio do Microbiando, incluindo: rotina de reuniões, produção dos roteiros, gravação dos episódios, edição, criação de artes das capas, pós-produção do episódio edivulgação. Expusemos também algumas estatísticas do Podcast Microbiando, como: quantidade de downloads, país de origem dosouvintes, temas mais abordados e episódios mais baixados. O Podcast Microbiando é centrado na formação acadêmica dos alunosde graduação e pós-graduação que compõem o projeto de Extensão Universitária. Além disso, a equipe do Microbiando acreditaque a divulgação científica é essencial na formação de cidadãos responsáveis.
With convergence of broadband access, computing and telephony, smartphones have empowered listeners to break free from the constraints of schedules and take control of their listening experiences. As a result, podcasts have gained popularity globally and many new people are finally tuning in. In the United Arab Emirates (UAE), the podcast community thrives with stories ranging from tech, culture and music to Middle East affairs, hosted by a diverse group of expatriates and local Emiratis. This study investigates the burgeoning podcast landscape in UAE, examining content creators’ motivations, challenges and opportunities in this emerging media space. Through in-depth interviews with key stakeholders, including pioneers and newcomers in the UAE podcasting industry, the research explores factors driving podcasting’s rise in the region, such as the need for localized content, the changing media landscape and the significance of community-building and interactivity in podcast creation and distribution. Furthermore, the study delves into podcasting as a horizontal medium, offering insights into how content creators push the boundaries of democratized culture on the World Wide Web. The findings highlight growth and monetization potential within the UAE podcasting market and the challenges and opportunities presented by decentralized podcast distribution. Finally, the research touches upon regulation and standardization in podcasting, examining the freedom of expression afforded by this relatively unregulated medium compared to traditional media forms. Overall, this study provides valuable insights into the emerging podcasting landscape in the UAE and sets the stage for future research exploring the motivations and challenges faced by individual creators and podcast networks in the region.
Prison stories play an important role in people’s understanding of incarceration with the underlying messages often supporting it as an effective solution for the crime problem. While core elements flow between most types of prison representations, advances in media technology present new ways of constructing these stories, making it easier for those who have experienced incarceration to control the message. Podcasting is one such development. This easily accessible medium is able to present a unique listening experience that has been found to induce empathy, strengthen the connection to the subject, and has the potential to contribute to changes in attitudes. This article compares two incarceration narrative podcasts, Ear Hustle and Red Onion Randy—Life in a Supermax, to demonstrate the potential power of this intimate form of media. Drawing from transportation theory, as well as literature on literary journalism and auditory storytelling, it considers how podcasting can be utilized to create a lived or felt experience for listeners that has the potential to begin to shift popular incarceration narratives.
This study focuses on podcasts produced in Turkey that incorporate queer culture and experiences by exploring the dynamics of podcasting as an alternative broadcast medium. We examined six podcasts consisting of conversations focused on queer culture and issues, with at least ten episodes distributed. We conducted qualitative in-depth interviews with nine participants – at least one representative of each podcast. We found that the programmes, as effective alternative publicizing channels of solidarity, make personal experiences audible. Queer podcasts in Turkey demonstrate the characteristics of alternative media, being carriers of non-hegemonic discourse and representations, and their organizational forms and structures support audience participation. On the other hand, the distribution channels of the content are commercial and not independent on state or market.
News podcasts are an emerging media phenomenon in Czechia, and yet there has never been a proper analysis of the fundamental incentives for producing them. This study identifies three principal factors that motivate established media houses to create news podcasts alongside other traditional forms of delivering the news: focus on a younger audience, content presentation and the building of trust. Each motive is analysed independently and thoroughly. The study also reveals the background of media marketing strategies concerning podcasts and examines the mechanisms of adapting foreign trends in podcasting to the Czech context. The study focuses on six different Czech news podcasts (including news-politics and news-talk formats) and is based on twelve in-depth interviews with the hosts and their Editors-in-Chief. This work aims to broaden the knowledge of podcasting in Czechia and to help understand how this surging media platform can be generally used to share news stories and information about current affairs.
V poglavju spregovorimo o uporabi podkasta v kontekstu učenja in izobraževanja
starejših. Podkast poleg bloga, vloga in drugih spletnih vsebin omogoča
prav dejavno vključevanje starejših v skupnosti. Starejši z ustvarjanjem podkasta
ne samo, da usvojijo IK-kompetence, ampak tudi ustvarjajo lastno vsebino, s katero
posegajo v domeno javnega. Zato se nam podkast zdi pomembna možnost
opolnomočenja starejših. Poleg tega je podkast tudi zanimivo učno orodje, prek
katerega starejši spoznavajo nove vsebine, omogoča jim tudi lažji dostop do učnih
in drugih vsebin.
poglavju najprej predstavimo vzpon podkasta kot novega medija na začetku
tisočletja in njegove prve ustvarjalce. Podamo podatke o uporabi podkastov
iz mednarodnih statističnih raziskav ter informacije o vsebinah in formatih podkastov
v primerjavi z radiem, ki je »starejši brat« novega medija. V nadaljevanju
poglavja se osredotočimo na podkaste v kontekstu učenja. Poslušanje podkastov
je lahko zgolj del informalnega učenja, lahko pa jih uporabljamo kot gradivo
v izobraževalnih programih. Posebej omenimo jezikovno učenje, kjer so zvočni podkastov, ki je v strokovni literaturi za zdaj slabo raziskano. V zaključku poglavja
obravnavamo konkretne možnosti in priložnosti za uporabo podkastov v izobraževanju
starejših. Možnosti za njihovo uporabo v izobraževanju se raztezajo od
nadomeščanja vizualnih gradiv in sledenja interesom pri poslušanju do uporabe
podkasta kot sopotnika za krajšanje časa, opravljanja vsakodnevnih opravil
in vstopanja v nove skupnosti ter ne nazadnje ustvarjanja lastnih podkastov in
medgeneracijskega povezovanja.
Domestic and intimate partner violence are among the most spread types of gender-based abuse suffered by women worldwide. In Ireland and other English-speaking countries, this form of violence is endemic and widespread. According to a survey carried out by Women’s Aid, 1 in 4 women living in contemporary Ireland have been abused by a current or former partner (Women’s Aid 2021). Similar numbers have been registered in the United States (Smith et al. 2017: 117), in England and Wales (Office for National Statistics 2019), in Australia (AIHW 2019: vii). Femicide, which is to say, the lethal victimisation of a woman for misogynous reasons (Radford 1992: 3), is often directly connected to the practice of domestic or intimate partner violence, as demonstrated by figures collected by the Irish Femicide Watch, according to which 1 in 2 women killed in the country is murdered by her current or ex-partner (Women’s Aid 2019: 9). Notwithstanding the worrying pervasiveness of intimate partner violence, gender-related crimes are often undervalued or deprived of their gendered connotations by the media, by the police and in a judiciary context (Dunne 2016; O’Halloran 2015; Women’s Aid and Mazzone 2019). This chapter discusses the podcast West Cork (Bungey and Forde 2018 ) and, by comparing it with its antecedent Serial (2014), it analyses its ability to expose the issue of gender violence in the Irish context, where it is set, and beyond.
Through evidence gathered from sixteen interviews with producers and businesspeople in the podcast industry, this paper argues that the professionals that populated the early phase of the formalizing podcasting scene made up an interpretive community defined, in part, by their appreciation for, and experiences with, public radio. I chart how this interpretive community cast themselves against dominant public radio paradigms when they moved into podcasting, while also retaining much of public radio’s ethos, and I discuss what the central preoccupations of this interpretive community were. I assert that audio broadcasting as understood and practiced within the interpretive community is a particularly millennial medium, influenced by the norms of digital communication. And I make claims about how this is foundational to understanding podcasting’s political and aesthetic predispositions. Ultimately, this argument advances and nuances one connection between public radio and podcasting using qualitative interview data.
This study delves into the critically uncharted world of edutainment podcasts, specifically those that turn to historical narratives for their content. Through analysis of two case studies, a pair of topics covered by four edutainment podcasts, it explores the ways in which educational or informational aims may be shaped, for good or bad, by an entertainment mission. The topics are drawn from the often disturbing field of medical history, a common choice for edutainment podcasts but a source of content that repels as much as it attracts, presenting a challenge to creators attempting to balance learning and diversion. The study finds that the audio format is both a help and a hindrance to this process, but the most important factor in these podcasts’ structure and relative success or failure may be their dialogic nature.
Pemanfaatan media baru bagi perempuan menjadi kajian yang menarik untuk dibahas. Perkembangan internet sudah tidak bisa dibendung dan setiap orang bisa ikut berpartisipasi di dalamnya termasuk perempuan. Perempuan memanfaatkan platform siniar atau podcast untuk menyuarakan gerakan literasi digital bagi perempuan. Tujuan dari penelitian ini adalah untuk mengetahui bagaiamana gerakan literasi perempuan dengan menggunakan media baru dalam praktik siniarnya. Penelitian ini merupakan penelitian kualitatif dengan menggunakan metode studi kasus pada siniar Suara Puan yang dikelola oleh tiga orang perempuan, yaitu Stefany, Putri dan Idha. Suara Puan merupakan podcast exclusive Spotify yang berfokus pada literasi. Data penelitian diperoleh dengan teknik wawancara mendalam, observasi partisipatif dan dokumentasi. Hasil dari penelitian ini menunjukkan bahwa perempuan mampu menunjukkan kemampuannya dalam industri siniar/podcast yang didominasi oleh laki-laki. Suara Puan mampu menjadi ruang literasi bagi perempuan. Tanpa disadari siniar Suara Puan secara aktif telah melakukan gerakan literasi bagi perempuan sebagai bentuk digital activism. Suara Puan mampu menjawab keraguan bahwa perempuan gagap terhadap teknologi dengan memunculkan konten yang menarik dan mendatangkan keuntungan secara finansial. Respon dari pendengar siniar inipun sangat positif karena mereka merasa diajak untuk mencintai literasi dengan memanfaatkan media baru yang lebih akrab bagi mereka dan memunculkan kesadaran-kesadaran baru sebagai perempuan. Sebagai sebuah aktifisme, meskipun tidak secara terang-terangan diakui oleh para pembuat, tapi dengan secara konsisten membangun kesadaran literasi menjadikan praktik siniar ini mampu menggerakkan pendengarnya. Kata Kunci: Podcast, Siniar, Perempuan, Literasi digital, media baru, digital activism
This study contributes significantly by adding to the limited existing knowledge of news podcasting practices as well as building an empirical understanding of a specific type of slow journalism. It examines the practices of news podcasting in India and positions it as a form of slow journalism. The study found that this construction of slow journalism through podcasting is purposeful on the journalist's part. More importantly, it is done with the intention of remedying the systemic fractures that contemporary journalism experiences. Finally, reclaiming the lost trust in journalism through practicing slow journalism is one of the crucial aims that podcasting journalists have in this context. The data for this paper was collected through newsroom observations and in-depth interviews with podcasting journalists across three Indian newsrooms. The study reveals the specific features of the news selection and production practices of the podcasting journalists fitting in the slow journalism framework, as told through their own perspectives as practitioners.
Starting from the analysis of the programmes and the production strategies of two of the biggest podcast platforms in Spanish (Cuonda and Podium Podcast), this research explores in depth how the rise of this format for distributing audio content is playing a key role in recovering and renewing the audio feature genre. This type of content, in disuse in speech-based radio broadcasting in recent decades, has ended up being strategic for new platforms, as it combines investigative journalism with aesthetic and narrative resources usually associated with radio drama, such as seriality, recreations and the design of sound atmospheres.
Podcast Raport o stanie świata jest na polskim rynku medialnym rozpoznawalną marką. Zawdzięcza to jakości produkcji i osobowości twórcy – Dariusza Rosiaka. Raport… jest subiektywnym komentarzem na temat aktualnych wydarzeń, realizowanym przez Rosiaka i współpracowników. Odbiorcami podcastu są wierni i bardzo świadomi słuchacze, którzy mają wyrobione zdanie na temat produkcji, co dotyczy zwłaszcza patronów wspierających ją finansowo. Celem prezentowanych w artykule badań było poznanie opinii patronów na temat podcastu, a także sprawdzenie, kim są i z jakiej perspektywy dokonują swych ocen. Członkowie zespołu badawczego dołączyli do zamkniętej grupy patronów Raportu… na Facebooku i za jej pośrednictwem przeprowadzili badanie ankietowe, w którym udział wzięło 80 respondentów. Jako największe jej zalety ocenianej produkcji uczestnicy badania wskazywali jej duży profesjonalizm oraz walory poznawcze, jak również niezależność twórców. Doceniali też fakt, że audycja jest dystrybuowana w formie podcastu, co pozwala na wielokrotne korzystanie z niej w dowolnym miejscu i czasie.
The purpose of this study is to examine whether journalistic norms of objectivity and practices of gatekeeping are observed in news and current-affairs podcasts. By analyzing 101 episodes from three different types of news and political podcasts, which included 13,237 sentences related to the 2022 presidential election in South Korea, the findings showed that journalistic norms and practices were often blurred in podcasts. Specifically, this study measured objectivity norms in three ways: (1) expression of opinion and first-person narration; (2) types of evidence/grounds employed; and (3) transparency of evidence/grounds. The results showed that 15.8% of sentences included opinions and 3.1% included first-person narrations. Three out of 10 episodes (31.7%) included no evidence. Only half the evidence/grounds were transparent (56.4%). Also, the gatekeeping role was shared by inviting outsiders as interviewees (71.3%). Importantly, the findings showed that the observation of norms and practices differed depending on whether podcast hosts were affiliated with mainstream media.
Dijital teknolojilerin yükselişi, geleneksel medyanın reklam gelirlerinde yaşanan düşüşler, içeriğe para ödeme isteğinin azalması, kullanıcı profillerinin değişmesi, çevrimiçi üretim ve tüketimin artması, sosyal medya platformlarının yaygınlaşması gazeteciler için birtakım değişim ve dönüşümleri beraberinde getirmiştir. Bu değişim ve dönüşümler sonucunda gazeteciler yeni iş modelleri geliştirmek, yeni ürünler ortaya çıkarmak ve bunlara uygun yeni gelir modelleri oluşturmaya başlamıştır. Çalışmamızın amacı 2000’li yılların başından beri tartışılan ancak ülkemizde yeni yeni gündeme gelmeye başlayan Entrepreneurial Journalism/Girişimci gazetecilik konusunda betimsel/tanımsal bir çalışma yaparak kavramı Türkiye’deki örnekler üzerinden açıklamak ve örneklendirmektir. Bir diğer amacı ise Türkiye’de çeşitli platformlar üzerinden yayıncılık yapmaya başlayan bireysel yayıncıların faaliyetlerini, içerik türlerini, istihdam durumunu, gelir modellerini belirleyerek girişimci gazetecilik literatürüne katkı yapabilmektir. Girişimci gazetecilik kavramını açıklamak ve var olan ekosistemi tanımlamak için nitel araştırma yöntemlerinin desenlerinden olan durum çalışması deseni kullanılmıştır. Çalışma sonucunda kavramsallaştırma yapılmış ve girişimci gazeteciliğin bireysel, kurumsal ve vakıf destekli örneklerinin haritalandırılması yapılmıştır. Bunun yanında Türkiye’de yayıncılık yapan bireysel gazetecilerin yayıncılık platformları, içerik türleri, gelir modelleri, istihdam durumları incelenmiştir. Sonuç olarak girişimci gazeteciliğin Türkiye ekosisteminde bireysel yayıncıların hakimiyetinde geliştiği belirlenmiştir. Bunun yanında yaygın olarak kullanılan platform ve gelir modelleri de belirlenerek uluslararası örneklerden farklılıkları da belirlenmiştir.
This article analyses and contextualises a variety of relationships between the cultural industries and cultural policy. A principal aim is to examine policies which are explicitly formulated as cultural (or creative) industries policies. It seeks to address questions such as: what lies behind such policies? How do they relate to other kinds of cultural policy, including those more oriented towards media, communications, arts and heritage? The first section asks how the cultural industries became such an important idea in cultural policy, when those industries had been largely invisible in traditional (arts and heritage-based) policy for many decades. What changed and what drove the major changes? In the second section, we look at a number of problems and conceptual tensions which arise from the new importance of the cultural industries in contemporary public policy, including problems concerning definition and scope, and the accurate mapping of the sector, but also tensions surrounding the insertion of commercial and industrial culture into cultural policy regimes characterised by legacies of romanticism and idealism. We also look at problems surrounding the academic division of labour in this area of study. In the final section, we conclude by summarising some of the main contemporary challenges facing cultural policy and cultural policy studies with regard to the cultural industries. The piece also serves to introduce the contributions to a special issue of International Journal of Cultural Policy on 'The Cultural Industries and Cultural Policy'.
The Apple iPod has not only become a ‘must have’ style accessory for the ‘wirefree’ generation but has also revolutionized the way we consume music. At the time of writing, (November 2005) the revolution has already started in the audio world, and has been going for the last 18 months. ‘Podcasting’ allows anyone with a PC to create a ‘radio’ programme and distribute it freely, through the internet to the portable MP3 players of subscribers around the world. Podcasting not only removes global barriers to reception but, at a stroke, removes key factors impeding the growth of internet radio: its portability, its intimacy and its accessibility. This is a scenario where audiences are producers, where the technology we already have assumes new roles and where audiences, cut off from traditional media, rediscover their voices.
Digital technologies are transforming audiences and media practices and in a context of serialization this paper wants to make the case for television series as much of the attention from the industry and the academy is drawn by music and cinema neglecting the effects on television viewing. Lawrence Lessig has proposed "remix" as one of the main outcomes of social and cultural practices enabled by new technologies that allow for easy production and sharing. Henry Jenkins talks of a "convergence culture" and many other authors refer a participatory turn. But this surge of creativity and participation poses new challenges to the industry and to the study of audiences. With the surge of transmediality and new platforms such as mobile phones and tablets, as well as enabling tools for massified DYI, the experience of television series consumption has been completely changed. This is particularly notable in youth audiences where television is still pervasive but networked media practices are gaining ground, namely a serialized participation culture characterized by immediacy, anticipation, control, emotional affordance and freedom. Based in a mixed methodology, composed of a quantitative online survey and a qualitative focus group approach, this paper will offer a case study of Portuguese College students’ serialized participatory culture regarding television series.
Over the last 10 years, radio listeners have increasingly begun to tune in online – via podcasts, radio-on-demand and other digital distribution platforms. In the last couple of years, they have begun to interact with radio in theatres, cinemas and assorted make-shift gig venues, via mobile apps and social media platforms, and in the form of live performances, online videos, maps, tweets, blogs, forums, essays, photographs and interactive websites. Radio, like every other medium, is experimenting with ever more complex cross-media practices. These kinds of activities have been analysed at length with regard to commercial film, television and gaming, but much less is understood about radio-born approaches to transmedia content. This article considers how existing transmedia theories can contribute to our understanding of these new radio practices and also how radio-originated cross-media productions might challenge some of the ingrained assumptions we have about transmedia engagement.
This article presents an exploratory, empirical investigation of one under-studied type of user-generated content: independent audio podcasting. While other forms of user-generated content, particularly blogging, have received significant attention from scholars, research on podcasting, particularly on podcasters themselves, is still uncommon. I address this gap through the development of a preliminary profile of independent podcasters and their motivations for podcasting. Results from a web-based qualitative questionnaire indicate that podcasters fit the profile of Pro-Ams (older, educated, professional males) working primarily in the niche markets of the long tail. The study found six major categories of motivations for podcasting: technology/media, content, interpersonal, personal, process, and financial. Comparisons are also drawn between motivations of the podcasters reported in this study and previous research on the motivations of bloggers.
In recent years, the launch of new diffusion technologies has changed the transmission and reception paradigm of traditional media. The podcast has arisen as a new way of distributing on-demand radio material and other related audible content on the Internet. This article discusses
the technology, consumption, copyright and new business models in relation to podcasting as a radio enterprise. The text specifically analyses Spanish public and private radio companies, in order to draw a picture of the relationship between podcasting and radio.
This article presents the results of a follow-up study examining the motivations of independent podcasters. Results from a web-based survey found that podcasting continues to be dominated by educated, professional males over 30, most of whom are not podcasting full-time. Podcasters are highly engaged with their audiences and continue to seek new business models to support potential full-time podcasting. Motivations for podcasting are consistent with the theory of produsage, which stresses the importance of community, feedback, and continual improvement. Podcasters take their activities seriously and see podcasting as an alternative to traditional radio.
Responding to the contradictory nature of our current moment of media change, this article will sketch a theory of media convergence that allows us to identify major sites of tension and transition shaping the media environment for the coming decade. Media convergence is more than simply a technological shift. Convergence alters the relationship between existing technologies, industries, markets, genres and audiences.
Podcasting has moved rapidly from the underground and pirate radio fringe to the heart of public-service media, with the BBC, NPR, CBC and Australia’s ABC all early adopters of the technology. The public-service broadcasting (PSBing) ethos appears both compatible with, and challenged by, the podcasting phenomenon. Podcasting’s appeal lies in its capacity for time-shifting, portable consumption and global distribution of audio content. Moreover, podcasting piggybacks on existing distribution infrastructure, and is particularly appealing to technologically savvy youth audiences whom public-service broadcasters (PSBers) traditionally have difficulty attracting. Yet podcasting simultaneously creates highly fragmented audiences with doubtful brand loyalty. Equally problematically, the medium’s relationship to commercial media has been close from its inception, as the term ‘podcasting’ itself suggests. It is precisely podcasting’s complex relationship with PSBing ideals — both complementary and potentially conflictual — which makes it such a rich case-study for examining the continued viability of PSBing in the digital media environment.
This study examines audience use of new media technologies found on NPR.org. A total of 514 members from NPR program fan groups found on Facebook were surveyed. The results indicate people prefer “traditional” Web site technologies: written articles, audio and video, podcasting, and links to local stations. Visitors use NPR.org to take control of their media experience, to be entertained, and to gather information. To gather information includes social interaction.There is some evidence that users may not be interested in new media features if the usefulness of these technologies is not apparent. Industry implications are also addressed.
Is podcasting the future of radio? Is podcasting that missing link connecting radio and the Net that Internet radio stations were not able to establish? Is podcasting a revolutionary or a transitory cultural trend? Furthermore, is podcasting a way towards a more democratic audio media system or is it rather a new tool in the hands of the multinational recording industry? This article will explore these questions, providing an historical framework to the introduction of digital sound (from 1991 to 2007) and related social practices, distinguishing four main phases: the birth of the popular use of digital music; Web radio; Music for free; the iPod and podcasting.
This study examines the patterns and uses of podcast users. A survey was conducted of 354 fans of shows that are podcast. These fans were found via fan websites of the shows on Facebook and MySpace. The results indicate that the bulk of the podcast users are well educated and affluent. The respondents also prefer to listen to the podcasts via portable devices. Almost 90% of the users reported actually using the show they downloaded. Motivations of using podcasts include entertainment, timeshifting, library building, a favorable view of advertising and a social aspect of the podcasts that centers around discussing the shows with other fans. There is some evidence here to suggest that the social factor motivation is also a predictor of podcast use. Heavy users of podcasts also reported to not have a negative view of the advertisers who supported the podcasts.
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