Since the advent of the new millennium, lifestyle magazine publishers have attended the sudden and uncontrollable change in the communicative context in which they were accustomed to operate. The birth of web 2.0 involved creation of new social media environments that therefore led to new practices of consumption, access, dissemination and creation of contents. Today the public can freely access through the network to the contents and information of fashion and lifestyle and move between narratives that develop on different channels and devices. Together with fashion bloggers and influencers, they have the opportunity to become part of the global conversation through practices of diffusion, redistribution and collective creation. This participatory, multimedia and interconnected communicative context determines the fragility of traditional communication structures. Publishers no longer have a monopoly on the distribution of information and the one-way and closely related medium model of communication is poorly suited to the contemporary environment. In the era of Convergence, fashion and lifestyle magazines are forced to review the role of professionals, operational dynamics and their historical organisations. The aim of this thesis paper is to understand which journalistic model can reflect and adapt to the contemporary communicative context and satisfy the new forms of consumption and enjoyment of the public. In this sense a narrative approach emerges, called transmedia thinking and Practice, born in the field of entertainment and effectively applicable to journalism. This method is based on the conception of complex narrative worlds that are articulated on different media platforms and that encourage public participation. The creation of multi-platform narratives would allow to reach fragmented and dispersed audiences among the myriad of sources, information and images of the global network and at the same time offer multiple viewpoints and narrative levels that make the public free to move between the different stories and decide their own path of fruition. This combination of different channels enriches the experience from the semantic and conceptual point of view and the variety of expressive modalities favours the involvement of the user. Finally, the ability to personally contribute to the development of the original narrative product can satisfy the participatory trend of contemporary audiences. The transmedia paradigm in this perspective could help lifestyle journalism to retain loyalty with an unfaithful public and to increase its authority and credibility, as well as to differentiate itself from competition. The discussion develops from the need to outline the mechanisms and patterns underlying the contemporary communicative panorama through the study of the new media habits of the audience and the factors that have been the trigger. In the second chapter it aims to contextualize the specific changes of the lifestyle communication sector through the phenomena of circulation made possible by web platforms 2.0 and the emergence of new amateur professionals. The third chapter explores the implications of changing media landscape on the practices, roles and traditional models of lifestyle journalism. Subsequently, the fourth chapter aims to deepen transmedia storytelling as a possible approach to the creation of journalistic content through the study of its principles, basic features and implementation methods. In conclusion, the last chapter has the task of carrying out an analysis of the organisation, the modalities of communication and future perspectives of Cosmopolitan an Italian lifestyle magazine in order to understand how a drafting is acting in the contemporary context and to understand how to apply the transmedial model to a real case.
A partire dall’avvento del nuovo millennio gli editori di riviste di lifestyle hanno assistito al cambiamento repentino e irrefrenabile del contesto comunicativo in cui erano abituati ad operare. La nascita del web 2.0 ha determinato la creazione di nuovi ambienti mediali sociali che hanno portato con sé nuove pratiche di consumo, accesso, diffusione e creazione di contenuti. Oggi il pubblico può accedere liberamente attraverso la rete ai contenuti e alle informazioni di moda e lifestyle e muoversi tra narrazioni che si sviluppano su differenti canali e dispositivi. Insieme a fashion blogger e influencer hanno la possibilità di venire a far parte della conversazione globale attraverso pratiche di diffusione, ridistribuzione e creazione collettive. Questo contesto comunicativo partecipativo, multimediale e interconnesso determina la fragilità delle strutture di comunicazione tradizionali. Gli editori non detengono più il monopolio sulla distribuzione di informazioni e il modello di comunicazione unidirezionale e strettamente legato ad un medium specifico è scarsamente adatto all’ambiente contemporaneo. Nell’Era della Convergenza le riviste di moda e lifestyle si trovano costrette a rivedere il ruolo dei professionisti, le dinamiche operative e le loro storiche organizzazioni. L’obiettivo che guida il presente elaborato di tesi è quello di comprendere quale modello giornalistico possa rispecchiare e adattarsi al contesto comunicativo contemporaneo e soddisfare le nuove forme di consumo e fruizione del pubblico. Emerge in tal senso un approccio narrativo, definito Transmedia Thinking and Practice, nato nel settore dell’intrattenimento ed efficacemente applicabile al giornalismo. In particolare, tale metodo si basa sull’ideazione di mondi narrativi complessi che si articolano su diverse piattaforme mediali e che incentivano la partecipazione del pubblico. La creazione di narrazioni multipiattaforma permetterebbe di raggiungere audience frammentate e disperse tra la miriade di fonti, informazioni e immagini della rete globale e allo stesso tempo di offrire punti di vista e livelli narrativi molteplici che rendono il pubblico libero di muoversi tra le diverse storie e decidere il proprio percorso di fruizione. Questo intreccio di differenti canali arricchisce l’esperienza dal punto di vista semantico e concettuale e la varietà di modalità espressive favorisce il coinvolgimento del fruitore. Infine, la possibilità di contribuire personalmente allo sviluppo del prodotto narrativo originale può soddisfare la tendenza partecipativa delle audience contemporanee. Il paradigma transmediale in tale ottica potrebbe aiutare il giornalismo di lifestyle a fidelizzare con un pubblico infedele e ad aumentare la sua autorevolezza e credibilità, oltre che a differenziarsi dalla concorrenza. La trattazione si sviluppa a partire dalla necessità di delineare i meccanismi e i pattern alla base del panorama comunicativo contemporaneo attraverso lo studio delle nuove abitudini mediali delle audience e dei fattori che ne sono stati la causa scatenante. In secondo capitolo ha l’obiettivo di contestualizzare i cambiamenti specifici del settore della comunicazione di lifestyle attraverso i fenomeni di circolazione resi possibili dalle piattaforme del web 2.0 e l’emergere di nuovi professionisti amatoriali. Il terzo capitolo indaga le implicazioni dei cambiamenti del panorama mediale sulle pratiche, sui ruoli e sui modelli tradizionali del giornalismo di lifestyle. In seguito, il quarto capitolo ha l’obiettivo di approfondire il Transmedia Storytelling come approccio possibile alla creazione di contenuti giornalistici attraverso lo studio dei suoi principi, delle caratteristiche fondamentali e delle modalità di implementazione. In conclusione, l’ultimo capitolo ha il compito di effettuare un’analisi dell’organizzazione, delle modalità comunicative e delle prospettive future di Cosmopolitan una rivista italiana di lifestyle al fine di comprendere come stia agendo una redazione nel contesto contemporaneo e per capire come poter applicare il modello transmediale ad un caso reale.
Il giornalismo di lifestyle nell'era convergente. Analisi del settore e della possibile applicazione di un modello transmediale
BOCCALERO, GIULIA
2018/2019
Abstract
Since the advent of the new millennium, lifestyle magazine publishers have attended the sudden and uncontrollable change in the communicative context in which they were accustomed to operate. The birth of web 2.0 involved creation of new social media environments that therefore led to new practices of consumption, access, dissemination and creation of contents. Today the public can freely access through the network to the contents and information of fashion and lifestyle and move between narratives that develop on different channels and devices. Together with fashion bloggers and influencers, they have the opportunity to become part of the global conversation through practices of diffusion, redistribution and collective creation. This participatory, multimedia and interconnected communicative context determines the fragility of traditional communication structures. Publishers no longer have a monopoly on the distribution of information and the one-way and closely related medium model of communication is poorly suited to the contemporary environment. In the era of Convergence, fashion and lifestyle magazines are forced to review the role of professionals, operational dynamics and their historical organisations. The aim of this thesis paper is to understand which journalistic model can reflect and adapt to the contemporary communicative context and satisfy the new forms of consumption and enjoyment of the public. In this sense a narrative approach emerges, called transmedia thinking and Practice, born in the field of entertainment and effectively applicable to journalism. This method is based on the conception of complex narrative worlds that are articulated on different media platforms and that encourage public participation. The creation of multi-platform narratives would allow to reach fragmented and dispersed audiences among the myriad of sources, information and images of the global network and at the same time offer multiple viewpoints and narrative levels that make the public free to move between the different stories and decide their own path of fruition. This combination of different channels enriches the experience from the semantic and conceptual point of view and the variety of expressive modalities favours the involvement of the user. Finally, the ability to personally contribute to the development of the original narrative product can satisfy the participatory trend of contemporary audiences. The transmedia paradigm in this perspective could help lifestyle journalism to retain loyalty with an unfaithful public and to increase its authority and credibility, as well as to differentiate itself from competition. The discussion develops from the need to outline the mechanisms and patterns underlying the contemporary communicative panorama through the study of the new media habits of the audience and the factors that have been the trigger. In the second chapter it aims to contextualize the specific changes of the lifestyle communication sector through the phenomena of circulation made possible by web platforms 2.0 and the emergence of new amateur professionals. The third chapter explores the implications of changing media landscape on the practices, roles and traditional models of lifestyle journalism. Subsequently, the fourth chapter aims to deepen transmedia storytelling as a possible approach to the creation of journalistic content through the study of its principles, basic features and implementation methods. In conclusion, the last chapter has the task of carrying out an analysis of the organisation, the modalities of communication and future perspectives of Cosmopolitan an Italian lifestyle magazine in order to understand how a drafting is acting in the contemporary context and to understand how to apply the transmedial model to a real case.| File | Dimensione | Formato | |
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https://hdl.handle.net/10589/153107