Thursday, 26 May 2016

Will Print Media Survive in the Digital Age?



The media’s landscape is constantly shifting in order to comply with audience demands. The concept of media convergence brings into question whether print media will survive in today’s modern era or if news will be consumed entirely from a digital platform. This report will investigate a range of issues relating to the evolving media landscape to determine if newspapers maintain relevance to today’s society.

Australia printed its first newspaper The Sydney Gazette and New South Wales Advertiser in the early nineteenth century[1], revolutionising the face of communication across the nation. Since its publication in 1803, today’s well-know publishing companies including The Sydney Morning Herald and The Australian emerged into the young face of the media environment and remained over the turn of the centuries to communicate information to the public of Australia[1]. Nearing 200 years of their survival, will newspapers be able to contest with the competiveness of today’s largely digitalised society?

Will newspapers be able to contest with today's largely digitalised society?

After studying the newspaper industry for three decades, author Philip Meyer sees a negative future for print copy[2]. The Professor Emeritus of Journalism at the University of North Carolina says that if current readership trends continue indefinitely, the last daily newspaper will be printed in October of 2044[2]. He says that as the newspaper industry declines at a slow but steady rate, technology prefaces by meeting audience demands of time efficiency[3]. As new technologies continue to emerge, the Internet is scattering the mass audience that newspapers once held.

Pew Research Centre’s Journalism Project has released a State of the News Media report annually for the past 12 years to outlines key statistics which examine the evolving landscape of the media industry[4]. The findings demonstrate that although newspaper circulation is slowly declining, readership still remains highly prominent in print copy compared to its digital counterparts. Data shows that 56 per cent of those people who read a newspaper rely exclusively on a print copy and do not use digital media to read their news[4]This evidence suggests that while the popularity of newspapers may be on a decline as an entity, the prominence of print media remains relevant to society’s needs.

However, further data collected by Pew Research Centre shows that newspaper ad revenue is depleting while digital ad revenue increases significantly. Throughout 2014 newspaper ad revenue declined by another 4 per cent over the year to $19.9 billion dollars, which is less than half of what it was a decade ago[4]. While newspaper revenue continues to plummet, digital ad revenue increased by 18 per cent growing to $50.7 billion dollars[4]. Consequently, newspaper companies may consider ceasing print media and turning to a digital platform in efforts to comply with the trend and ultimately increase their profits. This will significantly impact the face of print media and will reduce its chances of survival in the digital age.


Furthermore, job prospects within the media industry will continue to shift dramatically. While jobs available within the printing press will see a significant decline, there will likely be a demand for digital and IT related jobs. User Advocate and Principal of the Nielsen Norman Group Jakob Nielsen predicts the death of traditional media formats however states his belief that people working in these media have a promising future. He says that despite the changing format of the industry, there will always be a need for writers, editors and photographers[5]. Thus as digital media continues to grow, the demand for talented media specialists will grow alongside.

A study held by the Nielsen Norman Group on how people read websites found that 79 per cent of users always scanned any new page they came across while only 16 per cent read it word for word[6]. This suggests that in order for a company to comply with the digital age, media workers will need to modify their skills for the interactive takeover. Web pages will need to employ scannable text by using highlighted keywords, meaningful subheadings and bulleted lists. It is suggested that to comply with audience habits they should present one idea per paragraph in order to catch the readers attention with the first few words of the paragraph[6]. They should use half the word count or less compared to conventional writing to convey only key details and should use the inverted pyramid style by starting with the conclusion to be able to hook the readers[6].

In order to succeed in the digital age newspapers must revolutionise their business models to better fit today’s society. Sandra Ordonez, a media professional who has conducted over 350 interviews on the future of journalism, says newspapers are still searching for effective business and editorial models that are sustainable in the new world of media, claiming that outlets who cling on to their old methods of doing things will die[7]. While the concept of newspapers charging for access to their website articles was once frowned upon, it is now becoming an accepted strategy. Similarly, as online advertising changes and banner ads are quickly becoming out-dated, experts are urging newspapers to explore modern formats of revenue streams such as online games or web apps[7].

For the Sydney Morning Herald, the Age, the Australian Financial Review and the Australian, advertising revenue is rapidly decreasing. For every dollar lost in newspaper advertising the companies gain less than 10 cents in online advertising[8]. As their advertising revenue continues to deplete, so does their readership[8]. The Sydney Morning Herald and the Age have both lost close to a third of their circulation in the past three years[8]. The Sydney Morning Herald sells only 186,000 weekday copies in a state with a population of over 7 million, while the Age is selling 157,000 copies with the population of Victoria being 5.6 million[8]. The decreased circulation of Australian newspapers is further evidenced by comparing newspaper readerships from nearly seventy years ago to today's figures. In 1947, 38 out of every one hundred Australians would buy a metropolitan daily newspaper, while in 2013 this figure dropped to only seven out of every hundred people[8].

Infographic made using Piktochart https://piktochart.com

While these popular news companies have redeveloped their business models to focus in digital media, author and former editor of the Sydney Morning Herald Eric Beecher says that despite the fact that the Sydney Morning Herald and the Age have almost five times as many readers online as in print, the majority of those website visits are generated from the consumption of free information such as weather, property listings, recipes and ‘clickbait’ articles[8]. He argues that few of those readers are genuinely there to consume quality journalism.

Eric Beecher also states that out of all of the world’s newspaper companies who are fighting for survival in the digital age, few are as vulnerable as Fairfax Media, publisher of the Age, the Sydney Morning Herald and the Australian Financial Review[8]. He claims that no other major global newspapers were as dependent on revenue from classified advertising as the Sydney Morning Heral and the Age when the Internet arrived[8]. Ten years ago the newspapers were generating 56 per cent of their revenues from classified ads, compared to only 18 per cent at the New York Times and London Daily Telegraph, and 25 per cent at the Chicago Tribune and Los Angeles Times[8]. Furthermore, ten years ago they were each carrying approximately 200 pages of classified advertising a week compared to a continually declining 50 pages today, resulting in an extreme loss of profit[8]

In September 2005 an initiative known as 'Newspaper Next: the Transformation Project' was launched by a research team which was led by Harvard Business School professor Clayton Christensen[9]The purpose of this initiative was to work with companies to unveil a new business strategy for the newspaper industry[9]. The plan was endorsed by the American Press Institute and advised publishers to consider the value of their papers from the perspective of the consumers' needs. Participating companies were encouraged to ask their readers the question "what do you hire a newspaper company to do for you?"[9]

The early findings from seven different newspapers working in the initiative demonstrated that the idea of preposing that their publication was doing a ‘job’ for their readers had transformed into innovation and advancements on both the editorial and business sides of each company[9]. The ‘Newspaper Next’ project argued that newspaper companies must rethink the idea of creating one bulk product and instead focus on producing a portfolio of products[9]. One newspaper company involved in the initiative sought to tap into the youth market by developing a product to meet their demands for local and entertainment information[9]. Meanwhile, another newspaper addressed this recommendation by recognising their profound audience of busy mums and responded by developing on online planner for child-related activities[9].

While it is clear that print media is on a steady decline, newspapers will be able to maintain their worth in society by conforming to the shifting trends of audience demands. Companies should restructure their business models to better fit the digital age and should generate ideas to work in cooperation with new technologies in order to maintain their value in the modern age. Companies should recognise the values and needs of their readership to better comply with what the audience wants. In addition, media workers will need to modify their skills to better fit with the interactive age and meet audience trends. Print media has the capability to survive in the digital age so long as companies recognise and cooperate with the changing face of the media landscape.



Word Count: 1578




Sunday, 3 April 2016

Carrie Bickmore - Media Professional Profile



Media professional, journalist Carrie Bickmore
Retrieved from: 
https://upload.wikimedia.org/wikipedia
/commons/thumb/4/49/Carrie_Bickmore.jpg
/220px-Carrie_Bickmore.jpg
Despite the media’s constantly evolving landscape, journalist Carrie Bickmore has appropriated to the shifting trends of the media industry by utilising the changes as a foundation to the success of her career. The journalist has an obvious knowledge of the industry and through this has applied the concepts of media convergence and globalisation to reach a diversified audience and propagate her image as a trusted media professional. Her commitment to the public sphere and fourth estate has also contributed to the success of her career by establishing a ground of trust between herself and the audience she reaches. Carrie Bickmore has embraced the changes of the media industry to cultivate the growth of her career, allowing her to directly reach audiences and maintain her power in the role of a successful media professional.


Born on December 3, 1980, Bickmore is best know for her role hosting the Network Ten series The Project (Famousbirthdays, 2016). She studied journalism at Curtin University of Technology and inaugurated her career as a newsreader on 92.9FM after acting as an emergency fill-in for an ill colleague (Vickery, 2007). She continued her career in radio until converging to the platform of television in 2006, presenting a news segment on Rove Live (News.com.au). In 2009 Bickmore expanded her prominence as a media professional when she began her role as a host on The Project (Enker, 2014). The success of Bickmore’s career was recognised when she won the Gold Logie award in 2015 and was dubbed the ‘Golden Girl’ of Network Ten (Nadilo, 2015).

Mother of two Carrie Bickmore balances her family with her career. Retrieved from:
 
http://images.canberratimes.com.au/2010/11/13/2042522/carrie-bickmore-420x0.jpg
Carrie Bickmore is a media professional who interests me personally due to the overwhelming achievements and success she has accomplished throughout her career. Working as a television presenter, Bickmore has succeeded in a field that I hope to establish my career in and is therefore a key role model who I take inspiration from in my journey towards success. Her seamless transition between radio and television demonstrates her versatility as a media professional and is something that I must adopt in order to be successful within the industry. I am particularly inspired by Bickmore’s personal values and believe that her core principles quite accurately align with my own. She has shown resilience in the way that she has tackled the hurdles of her personal life, which is a quality that I recognise within myself. She has a strong-willed determination in the way that she has built her career as a media professional and within the projects that she has set herself in her personal life. Her passion and determination is a quality that I personally value and hope to execute in a similar way throughout both my career progression and personal achievements. The working mother of two succeeds to maintain a devotion to her career whilst balancing a commitment to her family. She proves that young female journalists can still be successful in their career whilst raising a family, which is a feat that I too hope to achieve. Bickmore’s commitment to appropriate with the changing landscape of the media industry exemplifies her as a role model to aspiring journalists like myself who are striving to enter the diversifying industry.


Throughout her career Carrie Bickmore has continued to acclimatise to the demands of the changing media landscape by embracing the concept of media convergence. Described in Joseph Turow’s text, convergence is when content that has traditionally been restricted to one platform expands to multiple media channels (2011, 6). The effect of convergence on Bickmore’s career is explicit through the shift of media platforms in which she has worked. Beginning her career as a radio host, she took on her first role in television as a newsreader on Rove Live (News.com.au). Working in both radio and television for three years, media convergence allowed Bickmore to expand from the traditional practice of working solely in one medium to conversely broaden her presence across multiple media platforms. Converging her influence across multiple channels allowed Bickmore to reach a wider audience and increase her popularity as a trusted media professional. The growth of her television success continued when she began her role as a host on The Project. The show takes a modern approach to news stories by delivering current events and trivial issues in a comedic style. The Project’s modern approach makes the show appealing to young, contemporary viewers and maintains the relevance of news to a diversifying modern audience.  By delivering news in a contemporary approach Carrie Bickmore has successfully adopted media convergence to alter the relationship between existing audiences and recirculate media content in a powerful new way (Jenkins, 2004, 34). Demonstrated through her seamless transition across media platforms, Carrie Bickmore has sanctioned the concept of media convergence in order to contribute to the rising success of her career.
 
Carrie Bickmore alongside her co-hosts on The Project
Retrieved from: http://images.tenplay.com.au/~/media/TV%20Shows/The%20Project/Wardrobe/September%202014/Panel140901W.jpg


Furthermore, globalisation has been an integral factor in contributing to the success of Carrie Bickmore’s career as a media professional. Globalisation refers to the expanding scale, increasing magnitude and fastening of social interaction which links communities and expands the reach of power relations across the globe (Flew, 2007, 67).  Throughout her continuing role on The Project, Bickmore adopts the concept of globalisation by reporting news stories and current affairs which are relevant on a local, national and global scale. This not only keeps the show’s Australian audience linked within global events but also introduces an international audience to content based within Australia, thus expanding the scale and increasing the magnitude of the show’s viewership. Content is made easily accessible for viewers around the globe with each episode posted online after they air on Channel Ten (TenPlay, 2016). Carrie Bickmore effectively applies the concept of globalisation by sharing recaps and segments of the show to her twitter page which reaches an audience of 223,000 people located across the world (Twitter, 2016). The show’s segments are also posted onto The Project’s Facebook and Twitter pages which have a following of close to half a million each (Twitter, 2016; Facebook, 2016). This content is then shared by local and international viewers across their own social media accounts, thereby linking communities and expanding the reach of power relations across the globe. The impact of globalisation has allowed Carrie Bickmore to reach a diversified audience and propagate her image as a trusted media professional within the changing landscape of the media industry.


Carrie Bickmore’s contribution to the public sphere has acted as a pivotal element to the success of her career. As explained by Alan McKee, the public sphere is a metaphorical space where people can interact to form public opinion, publicise their views and deal with matters of general interest (2005, 4). Throughout her role on The Project Bickmore has contributed to the public sphere by creating a platform that generates discussion and debate on matters of general interest. The varying perspectives of panel members are publicised during the show then the conversation is continued when the audience form public opinion through social media platforms by expressing their stance on the topic of debate. Bickmore furthers her contribution to the public sphere by her personal efforts towards raising awareness and funding for cancer research. She does this by highlighting brain cancer research as a matter of general interest and encouraging the public to get involved. After winning the 2015 Gold Logie Award Bickmore dedicated her acceptance speech to her late husband, Greg Lange, discussing brain cancer as a highly underfunded area of research (Stephenson, Weir & Willis, 2015). She encouraged the public to wear ‘Beanies for Brain Cancer’ to show their support and received an outstanding response from the community. All over Australia people were wearing beanies and sharing photos on social media to make their contribution in the movement for brain cancer awareness (Cure Brain Cancer Foundation, 2016). Carrie Bickmore continues to make a significant contribution to the public sphere through both her career triumphs and her personal efforts towards brain cancer research, contributing to her success as a journalist within the evolving media landscape.

Carrie Bickmore's Gold Logie acceptance speech
Youtube. (2015) "Carrie Bickmore Wins the 2015 Gold Logie". Accessed April 3, 2016
https://www.youtube.com/watch?v=i6D7NyJMN5w

In addition to her commitment to the public sphere, Carrie Bickmore has also found success in her career through her contribution to the fourth estate. The media acting as the fourth estate is a concept that first arose in 1840 after Thomas Carlyle recognised that an informal political power was held by the press (Hampton, 2009, 3).  Carrie Bickmore contributes to the fourth estate throughout her role on The Project by exposing controversial news stories to the public that criticise and evaluate government decisions. A recent example was a segment discussing ‘Chasing Asylum’, a film created by Eva Orner which shows never before seen footage from inside Australia’s offshore detention camps (TenPlay, 2016). The panel members interviewed the film-maker and critically commented on the film's content, encouraging viewers to continue the discussion via social media. Working as a media professional within the journalism industry, Carrie Bickmore has used the fourth estate to contribute to the success of her career and maintain her power as a professional communicator.

In spite of the media’s constantly evolving landscape, journalist Carrie Bickmore has appropriated to the shifting trends of the media industry by utilising the changes as a foundation to the success of her career. The journalist has an obvious knowledge of the industry and has applied the concept of media convergence to transition through varying mediums throughout her career. Similarly, globalisation has allowed her to propagate her image as a trusted media professional and expand her reach of power relations across the globe. Her commitment to the public sphere and fourth estate have also contributed to her success by creating a platform for viewers and co-hosts to generate discussion on matters of general interest. Carrie Bickmore has embraced the changes of the media industry to cultivate the growth of her career, allowing her to directly reach audiences and maintain her power in the role of a successful media professional.
  
References 
Cure Brain Cancer Foundation. 2016. “Beanies for Brain Cancer”. Accessed April 2, 2016.

Enker, Debi. 2014. “Channel Ten’s The Project lacks substance, sting”. Accessed March 21, 2016.

Facebook. 2016. “The Project”. Accessed April 2, 2016.

Famous Birthdays. 2016. “Carrie Bickmore – Bio, Facts, Family”. Accessed March 21, 2016.

Flew, Terry. 2007. Understanding Global Media. New York: Palgrave Macmillan.

Hampton, Mark. 2009. “The Fourth Estate Ideal in Journalism History.” In The Routledge Companion to News and Journalism, edited by Stewart Allan. Oxon: Routledge. Accessed April 3, 2016.

Jenkins, Henry. 2004. “The Cultural Logic of Media Convergence.” International Journal of Cultural Studies 7(1): 33-43. Accessed April 2, 2016. doi: 10.1177/1367877904040603.

McKee, Alan. 2005. The Public Sphere: An Introduction. Cambridge: Cambridge University Press.

Nadilo, Blake. 2015. “Golden girl! Carrie Bickmore accepts Logie in a beanie as a tribute to her late Husband”. Accessed March 21, 2016.

News.com.au. 2013. “Carrie Bickmore brought to tears on The Project during segment about brain cancer”. Accessed March 21, 2016.

Stephenson, Alison., Weir, James., & Willis, Charlotte. 2015. “Carrie Bickmore wins the Gold Logie, dons a beanie in dedication to her late husband”. Accessed April 2, 2016.

TenPlay. 2016. “Chasing Asylum – Network Ten”. Accessed April 2, 2016.

TenPlay. 2016. “The Project – Channel TEN – Network Ten”. Accessed April 2, 2016.

Turow, Joseph. 2011. Media Today: An Introduction to Mass Communication. New York: Routledge.

Twitter. 2016. “Carrie Bickmore (@BickmoreCarrie) | Twitter”. Accessed April 2, 2016.

Twitter. 2016. “#TheProjectTV (@theprojecttv) | Twitter”. Accessed April 2, 2016.

Vickery, Colin. 2007. “Carrie on Laughing”. Accessed March 21, 2016.