Odnos novinarskih žanrova na tradicionalnom radiju i radiju na internetu

Abstract

Predmet istraživanja u ovom radu je da se ispita hipoteza da u eri interneta i hiperprodukcije informacija dolazi do odumiranja kompleksnijih, nekada tipičnih radijskih novinarskih žanrova, u korist osnovnih, faktografskih žanrova. Predmet istraživanja je i kakva je budućnost radijskog novinarstva u eri interneta i konvergencije, a u vezi sa pojavom radija na internetu. U radu se istražuje i dilema da li radio na internetu u žanrovskom pogledu dovodi do stvaranja novih, pre pojave interneta nepoznatih, žanrovskih formi. Osnovni metodi koji se koriste u radu su: metod kvantitativno-kvalitativne analize sadržaja, metod teorijske analize, istorijski metod, komparativni metod, statistički metod, metod studije slučaja i sintetički metod. U svrhe ispitivanja postavljenih hipoteza, analizirani su programi sedam radio stanica iz Srbije: Radio Beograd 1, Radio Novi Sad 1, Radio B92, Radio 021, Radio S, Radio Indeks, NOFM radio. Jedinica analize od kojih se polazi u istraživanju su novinarski žanrovi na radiju. U radu se istražuje da li radio i internet u interakciji proizvode novu podvrstu medija i dolazi do zaključka da je u takvoj interakciji potrebno razlikovati tradicionalni radio od radija na internetu i od internetskog radija. Radio na internetu je tradicionalni radio koji ima i sopstveni portal. Internetski radio je radio koji program emituje isključivo preko internetskog portala. Ova interakcija radija i interneta omogućava pokretanje velikog broja radio stanica, naročito na internetu, što ne dovodi nužno do rasta kvaliteta programa. Upravo suprotno, sa radija se često povlače pre svega novinarski sadržaji, zbog čega on gubi svoju informativnu ulogu i sve više se pretvara u “džuboks”. S druge strane, portal može da bude dodatna vrednost za radio stanicu, i u smislu sadržaja i u smislu obezbeđivanja zarade kroz internetsko oglašavanje. Istraživanje se kontekstualizuje kroz poglavlja o istorijatu radija, interneta i novinskih agencija, kao i kroz razmatranja o budućnosti i održivosti radija u eri interneta i zadovoljavanju javnog interesa od strane ovog medija. Razmatra se i dilema da li su mediji poput radija na internetu zaista novi mediji ili su postali mejnstrim mediji, zbog čega se predlaže upotreba termina multimediji pre nego novi mediji. Posebna teorijska razmatranja posvećena su i budućnosti novinarstva u eri multimedija, kada poslodavci od novinara zahtevaju da savladaju brojne druge, nenovinarske, veštine. U takvim okolnostima, novinari nemaju dovoljno vremena da se bave složenijim novinarskim žanrovima. U opštoj utrci za eksluzivnim informacijama banalizuju se radijski sadržaji a žanrovska struktura se svodi na osnovne žanrove, dominantno na vest i na izveštaj. Sve to prouzrokuje pojavu senzacionalizma i tabloidizacije medija, što je posebno izraženo u komercijalnim medijima. Zbog toga se razmatra i dilema da li se iz mejnstrim medija, pored kompleksnijih i nekada tipičnih radijskih žanrova, povlači i novinarski sadržaj, odnosno da li – paradoksalno – dolazi do razdvajanja medija i novinarstva. U takvoj situaciji reklamna industrija i PR sve više preuzimaju primat nad novinarstvom, a pred novinarstvo se postavlja pitanje na kojim platformama može da opstane i da preživi. Zaključuje se da internet u teorijskom smislu jeste beskonačni prostor slobode, ali se argumentuje i da na internetu u medijskom smislu glavnu reč imaju najveće medijske kompanije, dok se glas manjih portala slabo čuje. To dovodi do stvaranja privida o mogućnosti izbora između različitih informacija, kada je masovna publika u pitanju. Rezultati istraživanja ispoljavaju se kroz karakterizaciju novih, hibridnih novinarskih žanrova koji su nastali kombinovanjem radija i interneta. Digitalnost i pristupačnost interneta, multimedijalnost, mogućnost linkovanja i interaktivnost doprinose stvaranju tih hibridnih formi. Rezultati istraživanja se očituju i kroz uporedni prikaz karakteristika novinarskih žanrova na tradicionalnom radiju i na radiju na internetu. Analizom je ustanovljeno da su od svih posmatranih radio stanica, kada su u pitanju žanrovska razuđenost i programska raznolikost, javni radijski servisi sadržajno najbogatiji, što je argument u prilog tezi da su javni servisi potrebni u Srbiji. Od komercijalnih radio stanica, žanrovski je najrazuđeniji bio program Radija B92, što je argument za tezu da i privatni emiteri mogu da učestvuju u zadovoljavanju javnog interesa. U radu se zaključuje da hibridni novinarski žanrovi, koji postoje na radiju na internetu, suštinski nisu radijski žanrovi. Jer radio je “slep medij” tako da su radijski delovi na portalima radija na internetu samo oni koji se odnose na slušanje programa uživo i na odloženo slušanje (podkast). Svi ostali delovi sajta nisu radijski, već su multimedijski.

The research subject of this paper is to examine the hypothesis that in the era of internet and hyper production, more complex, once typical radio journalism genres are being replaced by basic, factographic genres. Additionally, the subject of the research is the future of radio journalism in the era of internet and convergence, related to the appearance of radio on the internet. The paper researches the dilemma of whether internet radio is leading to the creation of new, before the internet unknown, genre forms. Basic methods used in the paper are: method of quantitative-qualitative analysis of content, method of theoretical analysis, historic method, comparative method, statistical method, case study and synthetic method. For the needs of testing the set hypothesis, content of seven radio stations from Serbia: Radio Beograd 1, Radio Novi Sad 1, Radio B92, Radio 021, Radio S, Radio Index, NOFM radio has been analyzed. The unit of analysis which is the basis of the research are journalism genres on the radio. The paper researches whether the interaction of radio and the internet produces a new subcategory of media and this prompts the conclusion that one must differentiate between traditional radio and radio on the internet and online radio when considering such an interaction. Radio on the internet is traditional radio which has its own portal. Online radio is a radio broadcasting content exclusively through the internet portal. This interaction of radio and the internet facilitates the starting of a considerable number of radio stations, especially on the internet, which does not necessarily lead to the increase of quality content. On the contrary, journalistic content is the first to be withdrawn from the radio, which is why the radio loses its informative role and is turned more into a jukebox. On the other hand, a portal could represent added value for the radio station, both in terms of content and ensuring profit through internet announcements. The research provides contextualization through the chapters on the history of radio, the internet and news agencies, as well as by reviewing the future and sustainability of the radio in the era of internet and this media’s appealing to public interest. The discussed issue is also whether media such as the radio on the internet are really new media or they have become mainstream media, which is why use of the term multimedia is suggested over the term new media. Special theoretical considerations have been given to the future of journalism in the era of multimedia, when employers require the journalists to master numerous other, non-journalistic skills. In the given circumstances, journalists just do not have sufficient time to deal with the more complex journalism genres. In the overall race for exclusives, radio content is made banal, and the genre structure is reduced to basic genres, primarily to the news and reports. Consequently, sensationalism and tabloidization of the media occur, especially in commercial media. This is why the paper also explores the dilemma whether along with the complex and once typical radio genres, journalistic content is also being withdrawn from mainstream media, i.e. whether – paradoxically – media are being separated from journalism. In this situation, the advertising industry and PR are taking more and more dominance over journalism, and journalism is facing the question on which platforms it can survive. It is concluded that the internet, in the theoretical sense, is an endless space of freedom, but it is argued that on the internet, in the media sense, the biggest media companies have the most say, while the voice of small portals is hardly heard. This leads to the creation of the illusion that one has the possibility of choosing between different information, when it comes to mass audiences. Research results are reflected in the characterization of new, hybrid journalism genres, which have been derived through the combining of radio and the internet. Digital-nature and accessibility of the internet, multimedia-nature, possibility of linking and interactivity contribute to the creation of these hybrid forms. The results of research are also presented in the comparative depiction of the characteristics of journalism genres on the traditional radio and radio on the internet. It was established through analysis that when it comes to genre diversity and content variety, out of all the observed radio stations, public radio services are the richest in content, which supports the thesis that public services are necessary in Serbia. Regarding commercial radios, the content of Radio B92 is the most diversified in terms of genres, which supports the thesis that private broadcasters are also able to take part in the satisfying of public interest. The paper concludes that hybrid journalism genres, which exist on the radio on the internet, are not essentially radio genres. Because the radio is a “blind media”, radio segments on the portals of the radio on the internet are only those which refer to listening to live broadcasting and to podcasts. All other segments of the site are not radio, but multimedia.