KOTIŠOVÁ, Johana. An elixir of life? Emotional labour in cultural journalism. Journalism. Thousand Oaks: SAGE Journals, 2021, neuveden, neuveden, p. 1-17. ISSN 1464-8849. doi:10.1177/1464884920917289.
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Basic information
Original name An elixir of life? Emotional labour in cultural journalism
Authors KOTIŠOVÁ, Johana (203 Czech Republic, guarantor, belonging to the institution).
Edition Journalism, Thousand Oaks, SAGE Journals, 2021, 1464-8849.
Other information
Original language English
Type of outcome Article in a journal
Field of Study 50802 Media and socio-cultural communication
Country of publisher United States of America
Confidentiality degree is not subject to a state or trade secret
WWW URL
Impact factor Impact factor: 4.436 in 2020
Organization unit Faculty of Social Studies
Doi http://dx.doi.org/10.1177/1464884920917289
UT WoS 999
Keywords in English Boundary work; cultural critic; cultural criticism; digitalization; emotional labour; objectivization of emotionality; professional legitimacy
Tags online first
Tags International impact, Reviewed
Changed by Changed by: Bc. Blanka Farkašová, učo 97333. Changed: 25/2/2021 14:14.
Abstract
Recent technological and institutional changes in journalism are believed to have dragged cultural journalism into a crisis. This article looks closely at one thing that makes the job of cultural journalists, in particular critics, distinct from other journalistic beats – the openly acknowledged importance of emotionality and subjectivity in these media workers’ professional practices – and explores the role of emotions in dealing with the crisis in the profession. Based on 14 semi-structured interviews with film and food critics, this article addresses the following questions: What emotional labour do the cultural critics perform? How does professional cultural criticism legitimize itself in the digital era? I suggest that both the film and food critics cherish the fact that their work processes draw heavily on their subjectivity: emotional experiences, political opinions and personal memories. However, to be able do their job, the critics cannot allow such elements of subjectivity to take the reins, and therefore, they perform emotional labour for the successful objectivization of their emotionality: making use of their emotions to better recognize what moments or aspects are significant for the assessment of the quality of the cultural object being reviewed. Furthermore, I suggest that in the context where digitalization has threatened the exceptional position of the professional cultural critic, emotional labour together with some other strategies of handling one’s subjectivity can help them to construct boundaries of professional cultural criticism and thus to reclaim professional legitimacy.
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