FASHION STUDIES - AA 2017/2018

Course: Digital Fashion Media

PAPER #3: Storytelling and citizen journalismStorytelling has been found in many aspects of the humanities. Storytelling is an effective way

to share ideas, facts and to persuade. This can link storytelling closely to journalism where

writers want to reach their audience, persuade their readers, and reach deep emotional levels with their followers. In order to reach their audience, journalists have researched

ways storytelling can be used to reach their audience. Storytelling can be used in journalism

but at a price. Many journalists who create stories may leave out facts in order to fill their

space with emotion. This leads many people to disregard these articles for columns they be-

lieve are more fact based.

But, with the idea of storytelling in journalism it has brought about Civic Journalism. This

type of journalism puts the power of the writing into the hands of the people in the com-munity. These journalists are not necessarily classroom taught journalists. These are people

who see injustice in their community and want to speak out as a part of activism. Storytelling

can bring forward community efforts as well as activism into a type of journalism that can edu-

cate and highlight community members. These types of journalists must understand the cor-

rect way to emotional stir their audience while also keeping their story factually correct.

Storytelling and citizen journalism can also serve as a critical starting point for professional

writers to become aware of important but unreported issues and events within a community.  

Further, raising awareness through community engagement in the storytelling process can

put pressure on professional writers to themselves report on these issues.

In a digital world with a whole host of different ways to communicate a factual message it is

increasingly hard to judge the value of amateur eyewitness film shot on a mobile phone and

posted on the internet against a considered, observational documentary broadcast on a tradi-

tional television channel. Factual filmmaking has in some senses become hostage to these

new, "immediate" technologies. But many working in the genre praise the developments for

adding a richer dimension to current affairs and factual documentaries and everyone seems

to agree that the genre will never be the same again (for a full overview see: https://www.the-

guardian.com/media/2012/jun/11/rise-of-citizen-journalism).

When the world’s first website http://info.cern.ch/ was launched in 1991 by physicist Tim Berners-Lee, it offered no audience interactivity. As the number of websites increased

and as the Internet grew over the years, new features on websites made it easier for audi-

ences to interact with other audiences or with website publishers. Real change did not come

until 2004 when the newly introduced Web 2.0 platform introduced a lot of the features that

enabled consumers or ordinary people to publish their own websites or weblogs, or feed con-

tent into the mainstream media. WordPress and BlogSpot are examples of such platforms.

Audiences are increasingly creating content and publishing it themselves or contributing it to

the media rather than just consuming it, as has almost always been the case. Debates on the

impact of this trend on mainstream media are widely contested. Detractors however criticize

citizen journalism and say there is high potential for false news being published online. One

major focus of citizen journalism is opinion, it’s a partial information, point of view, you know

this from the beginning.

New York University Journalism Professor and citizen journalism advocate Jay Rosen defines

citizen journalism by explaining why it is happening in the first place: “Citizen journalists are

‘the people formerly known as the audience’, are those who were on the receiving end of a

media system that ran one way, in a broadcasting pattern, with high entry fees and a few

firms competing to speak very loudly while the rest of the population listened in isolation from

one another— and who today are not in a situation like that at all” “Think of passengers on

your ship who got a boat of their own. The writing readers. The viewers who picked up a cam-

era. The formerly atomized listeners who with modest effort can connect with each other and

gain the means to speak— to the world, as it were”.

We can ask if citizen journalism could be a threat to professional journalism.

One greatest indictment is proffered by the Project for Excellence in Journalism which looks at the phenomenon of citizen journalism in the United States and in their 2008 annual report concludes that while a lot of communications researchers and scholars have

been “scripting the demise of the profession at the hands of citizen journalists or the contribu-

tors”, some research suggests that “citizen journalism is an overrated phenomenon”

“The prospects for user-created content once thought possibly central to the next era of jour -

nalism, now appear more limited. News people report that the most promising parts of citizen

input are new ideas, sources, comments, pictures, and video. But citizens posting news con-

tent has proved less valuable, with too little that is new or verifiable” they conclude.

Journalist and author Dan Gillmor sees incentives as a good way of attracting citizen jour-

nalists; ‘Incentives generally have an effect. But the current procedure that I’ve seen gener-

ally is to say ‘please send us things, if we use them, thank you very much. That seems to be

kind of an unfair system’ Dan Gillmor adds that the way the media could get more participants

is to “solicit video and information from people and pay for it instead of assuming that it’s

free”.

https://www.youtube.com/watch?v=GLHxyKwsxZ8

Potential false news reports are just one of the many possible outcomes of sourcing news

from anonymous sources. The news could be factually correct, but have flaws like blatant dis-

regard of ethics, lack of objectivity, impartiality and balance. It could simply be a hidden

agenda or opinion sugar-coated as fact or a libelous or defamatory statement that puts sub-

jects in the story in bad light. In mainstream media, a process of verification and checks called gatekeeping can weed out any such inaccuracies and biases. Gate-keeping is

done by experienced and trained journalists and editors, using tools and skills like knowledge

of the law and in house or commercial style books such as the Associated Press Stylebook.

There is increased recognition and acknowledgement of citizen journalism by established me-

dia and audiences alike. Some professional media have taken the initiative to help would be

journalists or citizen journalists with tools, skills and tips of the journalism trade. Most web-

sites that run citizen journalists content now have some guidelines. CNN’s iReport has a

“Community Guideline” a page write-up on what’s news and what’s not acceptable on their

site.

(for a full overview see: http://www.theopennewsroom.com/documents/Citizen_%20journalism_phe-

nomenon.pdf)

Citizen Journalism is Reshaping the World: Brian Conley at TEDxMidAtlantic (2012): https://www.youtube.com/watch?v=kY-l9UQpf0Y

The Future of Journalism: Tom Rosenstiel (executive director of American Press Institute), TEDxAtlanta (2013) “The audience will determine the future of news”, “Today

news is on demand”: https://www.youtube.com/watch?v=RuBE_dP900Y

“Is the disruption caused by digital technology make the world worse or better?

My answer is “Yes”

Rosenstiel speaks about an old journalism with a group of gatekeepers making rulens and

controlling the media system (the press, the journalists), a period that he defines “TRUST ME ERA OF NEWS”. and a new period,a “SHOW ME ERA OF NEWS”, after the digital

revolution and the evolution of digital media in which transparency and adaptability are the

two main values. In the past we, the readers, the consumers, had to adpt to the media, to the

timing fixed for the news, now everything could be on demand, is more convenient, in

substance we have more freedom in our choices, but we must be consequentely also more responsible. Media never told people what to think, but they told them what to think about,

they dictated the so called “agenda”. Now is different: agenda is done both from the side of

media and the consumers themselves, involved actively in the process. The rythm of the

audience, how people answer to the articles suggested by a online newspaper during the day

for example, determine the evolution of the newspaper itself. A smaller screen doesn’t

necessary means a shorter attention. Reality is that the tablets has reintroduced long form

reading, long form news consuption for the first time in the digital age. For the first fifthteen

years in the Internet people did not read long form on computers (30 seconds was the time of

anyone).

The point is how to finance thus new type of journalism. There will be multiple sources, there

will not be as advertising driven as old journalism was before. Consumers will pay for more of

it. Th ething formerly known as advertinsing will become tools to help us shop, compare,

save, local media will be allied with local businesses in a war against Amazon and Google to

make sure to co ntinue to have stores in our communities. We won’t have any more banner

ads. We come back to pay for journalism and journalism must give us, as consumers, an added value, privileges to membership. We need news to be trustworthy and reliable again.

Data Journalism

Data journalism is a journalism specialty reflecting the increased role that numerical

data is used in the production and distribution of information in the digital era. It re-

flects the increased interaction between content producers (journalist) and several

other fields such as design, computer science and statistics. Data journalism has

emerged as a new branch of journalism, thanks to the sheer scale of digital informa-

tion now available and the software that may be used to crunch that data into useful

forms. Data journalism is a corollary to big data, which aims to find exploitable pat-

terns in user data and other information generated by businesses.

Data journalism has been widely used to unite several concepts and link them to

journalism. Some see these as levels or stages leading from the simpler to the more

complex uses of new technologies in the journalistic process. Designers are not al-

ways part of the process.

In the past, journalists worked by being on the scene and reporting the news in front

of them. Today, however, news unfolds differently, often over the Internet, as multiple

sources add information through blogs, videos and social media. As a result, the

need to be able to access and filter that continuous stream of information has be-

come much more important in newsrooms. By using data, a journalist's focus shifts

from being the first person on the scene to being the one who provides context to an

event and aims to explain what it really means.

One of the first newspaper investing on data journalism had been The Guardian.

Simon Rogers (he edits the Guardian Datastore and Datablog @smfrogers, @datas-

tore and is the author of the book “Facts are sacred”) in an article published on 28th

July 2011, wrote: “Here's an interesting thing: data journalism is becoming part of the

establishment. Not in an Oxbridge elite kind of way but in the way it is becoming the

industry standard. Two years ago, when we launched the Datablog, all this was new.

People still asked if getting stories from data was really journalism. But once you've

had MPs expenses and Wikileaks, the startling thing is that no-one asks those ques-

tions anymore. Instead, they want to know, how do we do it? Meanwhile every day

brings newer and more innovative journalists into the field, and with them new skills

and techniques. So, not only is data journalism changing in itself, it's changing jour-

nalism too”.

Here the Guardian’s 10 point guide to data journalism and how it's changing:

1. It may be trendy but it's not newData journalism has been around as long as there's been data - certainly at least since

Florence Nightingale’s famous graphivs and report into the conditions faced by british soldiers

of 1858. The first ever edition of the Guardian’s news coverage was dominated by a large

(leaked) table listing every school in Manchester, its costs and pupil numbers. The big differ-

ence? Data was published in books, very expensive books where graphics are referred to as

'figures'. Now we have spreadsheets and files formatted for computers. Which means we can

make the computers ask the questions.

2. Open data means open data journalismBut now statistics have become democratised, no longer the preserve of the few but of every-

one who has a spreadsheet package on their laptop, desktop or even their mobile and tablet.

Anyone can take on a fearsome set of data now and wrangle it into shape. Of course, they

may not be right, but now you can easily find someone to help you. We are not wandering

alone any more. At the Guardian, being part of the news process means that we're part of the

news desk (news organisations are obsessed with internal geography), go to the key news

meetings and try to make sure that data is part of editorial debate.

3. Has data journalism become curation?Sometimes. There's now so much data out there in the world that we try to provide the key

facts for each story - and finding the right information can be as much of a lengthy journalistic

task as finding the right interviewee for an article. We've started providing searches into world

government data and international development data.

4. Bigger datasets, smaller thingsThe datasets are getting massive - 391,000 records for Wikileaks' Iraq release, mil-

lions for the Treasury Coins database. The indices of multiple deprivation, which is

how the government measures poverty across England, has 32,482 records. Increas-

ingly government data comes in big packages about tiny things. Making that data

more accessible and easier to do stuff with has become part of the datajournalism

process.

5. Data journalism is 80% perspiration, 10% great idea, 10% outputIt just is. We spend hours making datasets work, reformatting pdfs, mashing datasets

together. You can see from this prezi how much we go through before we get the

data to you. Mostly, we act as the bridge between the data (and those who are

pretty much hopeless at explaining it) and the people out there in the real world who want to understand what that story is really about.

6. Long and short-formTraditionally, some of the worst data journalism involved spending weeks on a single

dataset, noodling around and eventually producing something mildly diverting. Some

of the best involves weeks of investigative data management before coming up with

incredible scoops. But increasingly there's a new short-form of data journalism, which

is about swiftly finding the key data, analysing it and guiding readers through it while

the story is still in the news. The trick is to produce these news data analyses, using

the tech we have, as quickly as we can. And still get it right.

7. Anyone can do it…Especially with the free tools we use such as Google Fusion Tables, Many Eyes,

Google Charts or Timetric - and you can see some of the stuff our users have pro-

duced and posted on our Flickr group.

8. … but looks can be everythingGood design still really matters. Something like this guide to the senior civil service

(designed by Guardian graphic artist Jenny Ridley), or who knows who in the News

of the World phone hacking affair (produced by journalist James Ball and designer

Paul Scruton) work because they're designed, not by machine, but by humans who

understand the issues involved.

9. You don't have to be a programmerYou can become a top coder if you want. But the bigger task is to think about the

data like a journalist, rather than an analyst. What's interesting about these num-

bers? What's new? What would happen if I mashed it up with something else? An-

swering those questions is more important than anything else.

10. It's (still) all about storiesData journalism is not graphics and visualisations. It's about telling the story in the

best way possible. Sometimes that will be a visualisation or a map. But sometimes

it's a news story. Sometimes, just publishing the number is enough. If data journal-ism is about anything, it's the flexibility to search for new ways of storytelling.

And more and more reporters are realising that. Suddenly, we have company - and

competition. So being a data journalist is no longer unusual. It's just journalism.

Data journalism at the Guardian: what is it and how do we do it?

https://www.theguardian.com/news/datablog/2011/jul/28/data-journalism

What is data journalism?

https://www.youtube.com/watch?v=IBOhZn28TsE

Storytelling, brand storytelling and native advertising

The age of information products is over and the age of experience products is starting and blowing up more and more every day. Why? Today we have “free” access to so much

information that the way you present your information is key for winning the race of

success.

Today experience win against pure information because:

1 - captures the attention

2 - plays with emotions

3 - builds trust

How you sell, how you communicate is making the difference.

Storytelling is not speaking about your products or long endless lists of features and what

you can do with them. It’s not one time content like a single article or a single blog post, a

disconnected story about your business or a single about page. If you run a fashion blog and

in the about page you explain that you love traveling, different cultures and habits, exploring

traditions and trends all around the world you must spread this message in all your blog

contents and in the way you write, the style you choose for the photos or videos. Life on web

is dynamic, nothing is static. You always must update your informations and try to be, or to

seem in any case, always in motion.

Storytelling is part of us. From the origin of the humans is the oldest form of passing knowledge and much of how we look at what we like to call facts is influenced by stories and

how we interprete them. Passing knowledge is not inventing something, it’s searching in your

life, in the one of your brands and find useful elements with which to build stories. Starting from the truth is always the best. Maybe sometimes make-up it a little, but be careful, don’t

lie or you’re going to make an epic fail. You want to fulfil needs, respond to questions,

engage on an emotional level, connect, find your voice and listen to voices in the intersection

of brand and audience. And the ways you have developed solutions and a value proposition

is all about stories. It’s even possible to turn an internal sales kit about solutions in a narrative

book, telling stories people can relate with.

You don’t want to forget your products, but you must not focus on your side of them, but on

the impact your brand and product can have on your customers and the experience that

make. Brand storytelling is a more sophisticated way of marketing, it relates to the benefits of

getting into a relationship with your brand and the universe that it brings rather than focusing

on products (too commercial).

Brand storytelling is a type of storytelling, dedicated to a brand and to promote it. If you

want to create an effective brand storytelling you must come to the origin of this tool and how

to use it. Stories, to be loved and inspiring, must be creative and authentic. The same is about

brand stories that can form a personal connection between the brand and the customers. You

must consider brands, products as stories, you must learn to operate this change to be good

storytellers. Storytelling is one of the most powerful ways to breathe life into brands and often

called one of the main components of a content marketing approach. By giving your

products and services an identity by capturing and sharing the stories they really are, you can

take your target audience on a journey they yearn to experience. How a person feels about

your brand typically determines whether they buy your product. A brand is a matter of

perception. When you tell a story that embodies human challenges, you create an experience

that resonates with your customers.

Brand stories, looking with the eyes of storytelling, are like fairy tales, and must have three

acts that set up the situation, chronicle the conflict and offer a resolution. However,

business stories are unique because they require a fourth element – a call to action, which is

often indirect. The ultimate goal of marketing is to inspire, whether it motivates change,

encourages the buying of a product or draws people into your store, regardless of the

timeframe. Your desired outcome in the end drives the direction of the story.

Any medium can be used to tell a story, including blogs, film, print, social channels and

multimedia. Each medium elicits a different reaction from your audience, so stories must be tailored to fit. The key to success is knowing which story to tell in which medium.

Short, snappy messages work best on television and the Internet, while online conversations,

conferences and seminars provide a personal connection.

e.g. Airbnb

https://www.airbnb.com/stories

Airbnb gives a voice to people using their service, telling stories about the experiences they

make, travels the did and reasons for opening their homes to guests. Reading these stories,

you are sucked into a new world. You do not get the feeling to read marketing content – but

you are easily infested with the wanderlust syndrome and long to visit all these places and

homes. Of course, there is much more to brand storytelling than customer stories. Every suc-

cessful blogger or Instagramer tells a story. And these stories have a central role in the suc -

cess of the blog or Instagram account. And while there may be a competition for attention for

content out there, there still is a lot of room for some great stories! Just keep in mind that be-

fore you start you need to be fairly sure about the story you want to tell – and the emotions

and experiences you want to relate.

Native advertising

Article by Joe Pulizzi, 26/08/2015, Content Marketing Institute

“Native advertising is not content marketing” (notice in medias res the blogger style that involves the reader and calls into question directly ,

also using direct links and call to actions)

When you see the phrase “native advertising,” what do you think? Do you think of content

marketing? Well, a lot of people do … so much so, that I felt compelled to write an article

about it. Before I go through the differences, let me explain why it’s essential to make the dis -

tinction. The words we use are important. From the moment I started in this industry over 15

years ago, everyone used different terms – customer media, branded content (please don’t!),

custom publishing, custom content. The good news is that most people today call it content

marketing.

A few years ago, the term native advertising caught on (more on its meaning in a second).

Too many marketers and agency executives erroneously use content marketing and native

advertising interchangeably. When that happens, our industry takes a step backward, as na-

tive advertising is simply one way marketers can distribute content.

The point is that using the correct terminology is important. To me, to you, to the industry. If

we can’t speak the language fluently, how can we expect others to understand content mar-

keting or respect us as content marketers?

This is content marketingContent marketing is a strategic marketing technique of creating and distributing valuable, rel-

evant, and consistent content to attract and acquire a clearly defined audience – with the ob-

jective of driving profitable customer action by changing or enhancing consumer behavior.

Content marketing is an ongoing process that is best integrated into an overall marketing

strategy. It focuses on owning media, not renting it. In content marketing, the brand owns the media. It’s an asset.

This is native advertising

For most situations, longer-form native advertising (I’m not talking about Google or Twitter

ads) is:

• A directly paid opportunity – Native advertising is “pay to play.” Brands pay for the place-

ment of content on platforms outside of their own media.

• Usually information based – The content is useful, interesting, and highly targeted to a spe-

cific audience. In all likelihood, it’s not a traditional advertisement directly promoting the

company’s product or service.

This is where native advertising looks a bit like content marketing. The information is usually

highly targeted (hopefully) and positioned as valuable. But again, in native advertising, you

are renting someone else’s content distribution platform (just like advertising), except that you

aren’t pimping a product or service. Delivered in stream. The user experience is not disrupted

with native advertising because it is delivered in a way that does not impede the user’s normal

behavior in that particular channel.

Brands want their native advertising to look as similar as possible to the third-party site’s con-

tent. Though the media company wants that too (because it’s easier to sell that way), it also

has to put out a multitude of warning labels around the content to make sure the paid place-

ment is 100% transparent.

To summarize, native advertising doesn’t disrupt the user experience and offers helpful infor-

mation in a format similar to the other content on the site so users engage with it more than

they would with, say, a banner ad. (This is good for advertisers, and if the content is truly use-

ful, good for consumers.) In very simple terms, native advertising is one way content mar-

keters can distribute their content.

A quick review1. If you pay for placement, it’s advertising.

2. If you pay for placement of valuable, relevant content in a format similar to the third-party

site, it’s native advertising.

3. If you don’t pay for placement, the content is not advertising.4. If that content is valuable and relevant, designed to attract a clearly defined audience, and

posted on your own or other unpaid platform, it’s content marketing. Now, this doesn’t

mean you shouldn’t pay to promote your content as part of your content marketing strategy.

If you don’t have an audience that is subscribed to receive your content, you should look

into paid media as a way to reach a targeted audience.

5. The next time someone uses content marketing or native advertising in the wrong scenario,

please correct the person. Help us all speak the same language and be part of positive

change for the world.

Laws on social networks(from an interview with Kyle-Beth Hilfer, Esq. of Hilfer Law, a N.Y.-based attorney, published

on Forbes, https://www.forbes.com/sites/joannabelbey/2017/08/17/social-media-how-to-

avoid-trouble-with-the-law-and-the-ftc/#27a374097434 )

We are expecting more and more enforcement as regulators seek to clarify for consumers the

nature of material they see on social media. With the proliferation of fake news and an in -

creasing amount of sponsored content and viral campaigns, regulators are looking assidu-

ously to prevent deception and unfair activity that can lead to consumer harm.

5   top-line suggestions

1

Think critically about whether your brand should be on every popular social media platform.

Familiarize yourself with each social media platforms’ rules and guidelines. Determine how

the platforms’ rules align with your own brand’s legal policies, and consult with knowledgeable

legal counsel about the risks each platform creates for your brand.

2

Create policies that protect your brand. Your social media policy team should consist of legal,

HR, and marketing personnel so all stakeholders have a say. There is no one size fits all so-

cial media policy. Each company should draft its policies to align with preexisting guidelines

for social interaction, email, confidential information, and intellectual property protection. Once

you have policies in place, it is crucial to monitor your employees’ actions and the third parties

with whom you interact. Enforcement of well-crafted policies often saves companies from le-

gal liability.

3

Bring legal counsel into the discussion early as you plan strategy and your marketing ap-

proach. Review the legal paradigms that apply to your marketing efforts. Your legal counsel

should support your business goals and help you create meaningful programs with minimal

legal risk. If you have the right legal relationship in place, you will find legal counsel to be a

benefit and not a hindrance.

4

Make sure any contracts with outside agencies protect you adequately. Did you provide for

copyright transfer on content? Do you have access to the content (meaning being fully in-

formed of social media handles, log in information, and passwords) so you can take control of

accounts quickly if necessary? Do you know what your agencies are doing with the data they

collect? Are they protecting that data in alignment with your brands’ privacy policies? And cru-

cially, take a look at the warranties and indemnities to determine ultimate legal and financial

responsibility.

5

Focus on intellectual property rather than ROI. Metrics may be hard to pin down with social

media, but the long-term benefits of brand recognition are priceless. The goal is to interact

with customers in a meaningful way via social media that builds loyalty and secondary mean-

ing in the marketplace. If done lawfully, social media campaigns can augment the value of a

brand’s trademarks (indeed, trademarks are company assets and can be valued if a company

is sold) as well as the bottom line. If done without consideration for legal issues, the public re-

lations and legal fallout can damage a company’s intellectual property and leave it vulnerable

to legal challenge. At least once a quarter, check in with your trademark counsel about the

strategic goals of your trademark portfolio and the best way to protect your interests.

Here are 5 areas to consider:

1

Photographs and videos: Visual content on social media receives much more attention than

text, but it raises complex legal issues. Who owns the copyright? Do you have releases from

everyone in the photo or video? If not, you may face a right of privacy/publicity legal claim. If

you downloaded a photo from a stock photo house, who has the license—your brand or your

third party agency? If you are using memes or gifs, did you consider their source, their owner-

ship, and their content? Just because it’s available on the Internet or other people have

posted does not make it safe content for a brand to use.

2

Intellectual property: Another complex area of analysis is trademark and unfair competition

claims. Are you using third party trademarks appropriately? Have you made sure any trade-

marks, slogans, or even hashtags you create are available and won’t infringe on third party

trademarks? Your legal team can help you sort through whether names, slogans, phrases, or

other product identifiers are functioning as trademarks. If you are curating content, both trade-

mark and copyright law may be implicated. The fair use exception to copyright law is a com-

plex analysis. Contrary to urban myth, there is no 10% or 20% rule that allows you to take un -

der a certain percent of content, particularly for commercial purposes. Instead, the facts and

marketplace will determine whether your use of someone else’s copyrighted material is a fair

use. Your marketing team may be moving swiftly and may inadvertently violate a third party’s

intellectual property rights unless your brand has established clear content curation guide-

lines. Those guidelines should help to prevent claims for infringement, trade secret violation,

defamation, libel, or other kinds of legal claims.

3

User Generated Content: Your marketing team may be accepting user-generated content

from consumers at large. It is a popular tool on social media. The marketing and legal teams

should consult to develop strategies for soliciting and curating such content and guidelines for

vetting such content to minimize risk to the brand. That conversation between marketing and

legal should be ongoing. Each campaign generates its own set of considerations.

4

Special Campaigns: Offering sweepstakes, contents, premiums or other kinds of prizes on so-

cial media requires clearance in advance to ensure you are not violating gambling or lottery

laws. Social media campaigns that also involve mobile or email marketing may also mean you

have to consider other statutes, such as the Telephone Consumer Protection Act, the Tele-

marketing Sales Rules, CAN-SPAM, various data privacy laws, and even foreign laws if it is a

global campaign. If you are combining a prize offer, or any kind of sales promotion for that

matter, with a charitable donation on behalf of the brand, you also will want to determine if

you are a “commercial co-venturer” in the eyes of the law with special compliance require-

ments.

5

Employment Issues: A social media presence has internal considerations as well. Consult

with your employment law attorneys in setting up social media content to ensure that employ-

ees have the proper guidelines for what they can and cannot do on social media on behalf of

the company. Also ensure such guidelines do not conflict with the National Labor Relations

Board’s requirements. In addition, intellectual property counsel can help ensure that the brand

remains in control of the social media content and its ownership at all times and that the

brand’s intellectual property portfolio remains secure and protected.

ReferencesTopic: Storytelling and citizen journalism

Storytelling and journalism, http://www.prairienet.org/op/stories/the-importance-of-digital-sto-

rytelling/storytelling-and-journalism/

Barkin, Steve M. “The Journalist as Storyteller: An Interdisciplinary Perspective.” American Journalism Winter (1984): 27-33.Coberst. “Democracy, Critical Thinking, & Journalism – SciForums.com.” SciForums.com – Science Forums. 18 Oct. 2007. <http://www.sciforums.com/>.Deuze, Mark. “Towards Professional Participatory Storytelling in Journalism and Advertising.” First Monday 10.7 (2005).Agarwal, Amit. “Difference Between Blogging and Journalism.” Digital Inspiration: A Technol-ogy Blog on Software and Web Applications. 27 Sept. 2007. http://www.labnol.org/internet/blogging/difference-between-blogging-and-journalism/1421/.Carter, Kristi. “Citizen Journalism vs. Television Journalism: Differences Between TV Journal-ism and Journalism for Citizens.” Suite101.com: Online Magazine and Writers’ Network. 4 Jan. 2010. <http://www.suite101.com/content/citizen-journalism-vs-television-journalism-a185487>.Jarvis, Jeff. “Is Journalism Storytelling? « BuzzMachine.” BuzzMachine. 8 Dec. 2009. Web. 06 Dec. 2010. <http://www.buzzmachine.com/2009/12/08/is-journalism-storytelling/>.Schaffer, Jan, “New Voices: What Works, Lessons From Funding Five Years of Community News Startups.” http://www.kcnn.org/nv_whatworks/pdfThe Knight Commision on the Imformation Needs of Communities in a Democracy, “Informing Communities: Sustaining Democracy in the Digital Age.”  http://www.knightcomm.org/read-the-report-and-comment/

Topic: Storytelling, brand storytelling and native advertising

Brooks Larry, Story Engineering, Paperback, 2011

Brooks Larry, Story Physics: Harnessing the Underlying Forces of Storytelling, Paperback, 2013Brooks Larry, Story Fix: Transform Your Novel from Broken to Brilliant, Paperback, 2015Simmons John, The Invisible Grail: How Brands Can Use Words to Engage with Audiences

(Paperback)

Using storytelling to strengthen your brand, http://www.i-scoop.eu/using-storytelling-

strengthen-brand/

Native Advertising Is Not Content Marketing, http://contentmarketinginstitute.com/2015/08/na-tive-advertising-content-marketing/

Topic: citizen journalism

http://www.poynter.org/content/content_view.asp?id=76520

Fry, Katherine G. (2008), “News as subject: What is it? Where is it? Whose is it?” In Journal -

ism Studies, Vol. 9, No 4, 2008, http://dx.doi.org/10.1080/14616700802114258 downloaded

on 6 November 2008

Lieb, T. (2009). All the news: writing and reporting for convergent media. Boston: Pearson/Al-

lyn & Bacon

http://journalism.nyu.edu/pubzone/weblogs/pressthink/2006/06/27/ppl_frmr.html

Dan Gillmor in interview with BBC’s Roy Greenslade Press For Freedom Part 4 Wed 2 Jan

2008 http://www.bbc.co.uk/podcasts/series/docarchive/all

http://www.poynter.org/content/content_view.asp?id=76520

http://whatis.techtarget.com/definition/0,,sid9_gci1169528,00.html

Steve Outing, Poynter Online

http://www.sourcewatch.org/index.php?title=Citizen_journalism

Jay Rosen

Steve Outing, Poynter Online news and information, The Media Center at the American Press

Institute 2003

Bowman, Shayne., Willis, Chris., We Media: How audiences are shaping the future of

www.theopennewsroom.com

Dan Gillmor, In interview with Vincent Murwira 30 May 2009

05/10/2008, pA7, 0p http://www.sfgate.com/cgi-

http://www.washingtontimes.com/news/2008/mar/17/journalism-troubled-not-lost- report-sug-

gests/print/

Mark Deuze, Axel Bruns, and Christoph Neuberger., Preparing for an Age of Participatory

News, In Journalism Practice, Vol. 1, No 3, 2007

Nel, Francois., Ward,Mike.,Rawlinson, Alan., Online Journalism., In The future of journalism

in the advanced democracies , Anderson, Peter J., Ward, (Eds) Aldershot, Hampshire, Eng-

land; Burlington, VT., Ashgate 2007 pp 121-122

www.stateofthenewsmedia.org

27 February 2009, Jeremy Rees, New Zealand Herald online Publisher in interview with Vin-

cent Murwira

Reyhan Harmanci, Citizen Journalism carries unique pitfalls, San Francisco Chronicle, bin/ar-

ticle.cgi?f=/c/a/2008/10/05/MNIV13B9E4.DTL

See Research Findings in the Exegesis under Research Articles on the home page at

www.theopennewsroom.com

Citizen Media Law Project Legal Guide http://www.citmedialaw.org/legal-guide